Applause Magazine, Jan. 15-26, 2014

CARO

LINE

BOW

MAN

AS

‘EVA

PERO

N’ IN

THE

NAT

IONA

L TO

UR O

F EV

ITA.

PHOT

O BY

RIC

HARD

TER

MIN

E

ALSO PLAYING…

THE LEGEND OF GEORGIA MCBRIDEBLACK ODYSSEY

HAMLETMAMMA MIA!

EVITA

VOLUME XXV n NUMBER 5

JANUARY – FEBRUARY 2014

T H E D E N V E R C E N T E R F O R T H E P E R F O R M I N G A R T S

Then let us welcome you to our home. We’re a Colorado company with a local touch and a global reach. We’ll introduce you to our collection of the rare and the beautiful from around the world. And we’ll bring it all together for you with incredible service, whether it’s a quick delivery from our deep inventory or in-home custom design. Because to us, business is personal. Stop by. We promise it will be anything but ordinary.

Ready for something new?

Cherry Creek North : Denver | Pearl Street : Boulder | Landmark : Greenwood Village | A Colorado company hwhome.com

2013 National Home Furnishings Retailer of the Year

Then let us welcome you to our home. We’re a Colorado company with a local touch and a global reach. We’ll introduce you to our collection of the rare and the beautiful from around the world. And we’ll bring it all together for you with incredible service, whether it’s a quick delivery from our deep inventory or in-home custom design. Because to us, business is personal. Stop by. We promise it will be anything but ordinary.

Ready for something new?

Cherry Creek North : Denver | Pearl Street : Boulder | Landmark : Greenwood Village | A Colorado company hwhome.com

2013 National Home Furnishings Retailer of the Year

Salon 171732 E. 17th Ave.Denver, CO 80217303.377.6333 Blondie’s763 S. University Blvd.Denver, CO 80209303.377.5313 Reflections Hair Studio4257 S. BroadwayEnglewood, CO 80110303.789.5983 Shades of Beauty6001 S. Willow Dr. Suite 9Greenwood Village, CO 80111303.378.9249 En Gedi Salon1263 Park Street Suite DCastle Rock, CO 80109303.319.3634 Salon Aspen15438 E. Orchard Rd.Aurora, CO 80015303.699.1779 Hair-Tique267 A. East 29th StreetLoveland, CO 80538970.667.0399 Deco Hair Studio1655 28th StreetBoulder, CO 80301720.420.9035 Salon Matoe1012 Marquez Suite 209ASanta Fe, NM 87505505.984.2887

THE ART OF HAIR DESIGN

24

APPLAUSE denvercenter.org 4

APPLAUSEM A G A Z I N E

VOLUME XXV n NUMBER 5 n JANUARY – FEBRUARY 2014

For advertising information call The Publishing House 303.428.9529.

7380 Lowell Blvd., Westminster, CO 80030Angie Flachman, Publisher

Editor: Sylvie Drake Associate Editor: Suzanne YoeDesigners: Kim Conner, Brenda Elliott, Kyle Malone

Applause is published eight times a year by The Denver Center for the Performing Arts in conjunction with The Publishing House. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Applause magazine is funded in part by

The Denver Center for the Performing Arts1101 13th St., Denver, CO 80204

303.893.4000 • denvercenter.org The Denver Center for the Performing Arts is a not-for-profit organization serving the public through the performing arts.

BOARD OF TRUSTEESDaniel L. Ritchie,

Chairman and CEODonald R. Seawell,

Chairman EmeritusRandy Weeks, PresidentWilliam Dean Singleton,

Secretary/TreasurerW. Leo Kiely III,

First Vice Chair Robert Slosky,

Second Vice ChairDr. Patricia Baca Joy S. BurnsIsabelle ClarkNavin DimondMargot Gilbert FrankThomas W. HonigMary Pat Link Trish Nagel Robert C. NewmanRichard M. Sapkin Martin SempleJim SteinbergPeter SwinburnKen TuchmanTina Walls

Lester L. WardDr. Reginald L. WashingtonJudi WolfSylvia Young_______________________Carolyn Foster,

Executive Assistant to Daniel L. Ritchie

Kim Schouten, Executive Assistant to Daniel L. Ritchie

HONORARY MEMBERSJeannie Fuller Glenn R. JonesM. Ann PadillaCleo Parker Robinson

HELEN G. BONFILSFOUNDATION BOARD OF TRUSTEESLester L. Ward, PresidentMartin Semple,

Vice President Judi Wolf, Sec’y/TreasurerDonald R. Seawell,

President Emeritus

W. Leo Kiely IIIDaniel L. RitchieWilliam Dean SingletonRobert SloskyJim SteinbergDr. Reginald L. Washington

SENIOR MANAGEMENT STAFFRandy Weeks, President and

Executive Director, Denver Center Attractions

Kent Thompson, Producing Artistic Director, Denver Center Theatre Company

Dorothy Denny, Executive Vice President

Vicky Miles, Chief Financial Officer

Jennifer Nealson, Chief Marketing Officer

Clay Courter, Director of Facilities Management

INDE

X 10 16

2014

THE LEGEND OF GEORGIA MCBRIDEThis world premiere comedy by Matthew Lopez reminds us that love, laughter and heart can show up in the most unpredictable places.by Sylvie Drake

MAMMA MIA!Who knew that ABBA spelled song, dance, fun and (ever)lasting success?

BLACK ODYSSEYWith music, inventiveness and, yes, humor, playwright Marcus Gardley tracks the trials of an African American Ulysses returning from the war in Afghanistan. by Doug Langworthy

EVITAInspiration, smart choices and a chunk of luck went into the making of one of Andrew Lloyd Webber and Tim Rice’s most enduring collaborations.by Sylvie Drake

HAMLETOf all of Shakespeare’s plays, this one is the most puzzling, lauded and imperfect. So why are its tragic events so mesmerizing?by Dan Sullivan

Greetings! Winter brings to our stages a Shakespearean tragedy, two favorite musicals (Mamma Mia! and Andrew Lloyd Webber’s Evita) and full productions of two brand new plays, along with the Colorado New Play Summit, our ninth annual festival of readings of new works. First up is the Denver Center Theatre Company production of the world premiere of The Legend of Georgia McBride by Matthew Lopez. A young Elvis impersonator with a pregnant wife is replaced by a drag queen show, and discovers he has a lot to learn about show busi-ness and himself. Georgia McBride is filled with music, bawdy humor and lots of heart and was the hit of last February’s New Play Summit. The next world premiere is black odyssey by Marcus Gardley—a wild, imaginative, magical adven-ture with music, hip hop, humor, epic drama and poetry all blended together to give a contemporary African-American spin to Homer’s Odyssey.

The third Theatre Company pro-duction is Hamlet, set in pre-World War I Denmark. In Shakespeare’s psychological masterpiece, Hamlet must find his way through grief, anger, ghostly spirits, treachery, revenge, murder and madness as he seeks redemption.

February 7-9 brings the Colorado New Play Summit to our stages. In addition to

the premieres of Georgia McBride and black odyssey, we’re featuring five readings by some of America’s most exciting playwrights, including Eric Schmiedl and his adaptation of Benediction by Kent Haruf. For Haruf, Benediction completes his award-winning trilogy of novels set on the Eastern Plains of Colorado. For me, it completes a remarkable journey in the theatre—from Plain-song (2008) to Eventide (2010) to Benediction (2014). Please join us in experiencing the thrill of the New Play Summit, when leading theatre professionals from across the U.S., playwrights, and theatregoers come together for a high energy weekend to watch new American plays being created. In fact, join us for everything. n

Kent ThompsonProducing Artistic Director Denver Center Theatre Company

Kent Thompson

GPH

OTO

BY T

ERRY

SHA

PIRO

LET

TER

FROM

THE

PRO

DUCI

NG A

RTIS

TIC

DIRE

CTOR

Member FDIC

vectrabank.com800-232-8948 Proactive Relationship Banking

At Vectra, our customized

banking options are pretty sweet.

A bank that gives you personal attention and

customized solutions? Now that’s a sweet deal.

At Vectra Bank, we work closely with you to help

make the most of your money, without the rigid

corporate red tape of some banks. It shouldn’t

feel like a special treat to be given options that

best meet your specific needs. We believe in creating

unique solutions for our customers’ unique situations.

And that’s a promise you can take to the bank.

Proud to be a presenting sponsor of Denver Center Attractions’ 2014 Season!

COOKIE CUTTERS SHOULD ONLY BE USED

TO CUT COOKIES

Member FDIC

vectrabank.com800-232-8948 Proactive Relationship Banking

At Vectra, our customized

banking options are pretty sweet.

A bank that gives you personal attention and

customized solutions? Now that’s a sweet deal.

At Vectra Bank, we work closely with you to help

make the most of your money, without the rigid

corporate red tape of some banks. It shouldn’t

feel like a special treat to be given options that

best meet your specific needs. We believe in creating

unique solutions for our customers’ unique situations.

And that’s a promise you can take to the bank.

Proud to be a presenting sponsor of Denver Center Attractions’ 2014 Season!

COOKIE CUTTERS SHOULD ONLY BE USED

TO CUT COOKIES


COM

ING

ATTR

ACTI

ONS

3 0 3 . 8 9 3 . 4 1 0 0TTY: 303.893.9582 • denvercenter.orgAUDIO-DESCRIPTION, ASL INTERPRETATION AND OPEN CAPTIONING AVAILABLE

AT SELECT PERFORMANCES; CHECK DATES/TIMES WHEN ORDERING.

Performances at The Denver Center are made possible in part through the generous support of:

Denver Center Theatre Company 2013/14 Season Sponsors

Denver Center Attractions 2013/14 Season Sponsors

Media Sponsors

Red PMS 200 Gold PMS 123

World PremiereThe Legend of

Georgia McBrideNow – Feb 23

Ricketson Theatre

EvitaJan 15 – 26

Buell Theatre

Girls OnlyJan 16 – March 9

Garner Galleria Theatre

World Premiereblack odyssey

Jan 17 – Feb 16Space Theatre

HamletJan 24 – Feb 23Stage Theatre

Mamma Mia!Jan 28 – Feb 2Buell Theatre

Alton Brown Live!Feb 3

Ellie CaulkinsOpera House

Colorado New Play Summit

Feb 7 – 9Helen Bonfils

Theatre Complex

Million Dollar QuartetFeb 25 – March 9

Buell Theatre

ChicagoMarch 18 – 23Buell Theatre

ShadowlandsMarch 28 – April 27

Space Theatre

Animal CrackersApril 4 – May 11

Stage Theatre

Celtic WomanApril 19

Buell Theatre

Rock of AgesApril 25 – 27Buell Theatre

onceMay 6 – 18

Buell Theatre

American IdiotMay 23 – 25Buell Theatre

ALL SHOWS ON SALE NOW!

Judi Wolf’s Costume CollectionWidely regarded as one of the great-

est plays ever written, the Denver Center Theatre Company production

of Hamlet takes place just before the outbreak of World War I — and costume designer Beth Novak, brings to life the brooding atmosphere of this remarkable play through a mix of Ed-wardian and contemporary styles. Presenting a fusion of periods and styles cre-ates a playground of opportunities to develop the characters and create unexpected visuals. While most of the action of this production will take place in a vaguely czarist, military setting, the costumes also will include modern pieces from the 20s to present. At the time, the women of the Russian court were objectified. When we first see them their dress is quite lavish. Novak took contemporary sheaths and added Fortuni pleated accessories and jewels so that the pieces look ornate and impractical. Hamlet, who finds himself on an extreme emotional rollercoaster, will be every bit the young man who just left the University, look-ing a bit rumpled and wearing a traditional pea coat. Today’s style of men’s suits lends itself to a very Edwardian sensibility with clean lines and narrow pant legs that will blur the line between modern and period dress. Or is it the other way around? Is it that today’s gaunt-looking young Lotharios, sporting deliberate five o’clock shadows and a languid, melancholy mood are deliberately seeking to look every bit like, well… Hamlet? n

Hamlet

Beth Novak Hamlet costume designer

You are cordially invited to join Chairman Daniel L. Ritchie…for a VIP Tour of the Edinburgh Festivals next August 13-19, 2014. The tour includes superior accommodations at The George Hotel and tickets to the Edinburgh International and Fringe festivals. One of the highlights of the trip will be the renowned royal Edinburgh Military Tattoo which features music, dance and precision movement displayed

with massed pipes and drums, the bands of Her Majesty’s Royal Marines, cultural troupes, singers and the poignant re-frain of the Lone Piper against the stunning backdrop of the Edinburgh Castle. An optional tour of London’s West End, featuring deluxe Leicester Square hotel accommodations and tickets to four shows of your choice, may be added on August 19-24. A more detailed day-by-day itinerary and costs are available by visiting www.denvercenter.org/travel or by calling 303.446.4811.

VIP Tour: Edinburgh Festivals

Tamara Kaida: Desert Paint, 1987

DENVER | LAS VEGAS | LOS ANGELES | LOS CABOS | ORANGE COUNTY | PHOENIX | RENO | SALT LAKE CITY | TUCSON

Tabor Center, 1200 Seventeenth Street, Suite 1900, Denver, Colorado 80202

www.swlaw.com

In the law, as in the arts, creativity matters. Snell & Wilmer is proud to support the Denver arts community.

Heart rhythm problems affect the lives of millions of people.

At Exempla Rocky Mountain Cardiovascular Associates our experienced physicians treat cardiac arrhythmias. Call us today to learn more about our technologically advanced treatments that can help bring rhythm back into your life.

• Consultations• Second Opinions• Advanced Treatment Options

Comprehensive heart and vascular care in your neighborhood.

Visit one of our FIVE locations across the Denver metro area.

Downtown DenverLafayetteLakewoodWestminsterWheat Ridge

303-318-2460www.rmcva.org/applause

THE

ENCO

RE S

OCIE

TY


More than 30 years ago Carole and Bob Slosky were introducing friends and colleagues to a newly created Denver

Center for the Performing Arts (DCPA). Today they are still introducing theatre to friends—from a new generation. They met at Washington University in St. Louis—the first “blind date” for both of them. And the last. Bob was from Pueblo, Carole from Springfield, Illinois. After Bob graduated from law school at CU, Denver became their home. Together they raised two sons and are the proud grandparents of four children. The arts have always been a part of their journey, although Bob and Carole can’t quite put their finger on when and how that happened. From theatre at the original Elitch’s, to music, to art galleries and museums across the Southwest and the globe, they thrive on the experience and the friendships they have found along the way. Bob has served as a DCPA trustee for more than 25 years and Carole is a founding member of the Women’s Voices Fund. They were found-ing members of the Directors Society in the early 1980s and have helped this donor group grow to more than 200 people. In 2006 they had the foresight to provide start-up funds for the Marquee Club, a similar group focused on young professionals. As part of the Producing Partner group supporting the Colo-rado New Play Summit, they enjoy the challenge of seeing works go from script to stage. Most recently, Bob and Carole have turned their attention to the future of theatre and the

next generation of audiences: “With the aging of audiences the need is paramount to compete for the attention of, not only today’s young people, but also the next generation. We are competing against the enormous attraction of unbelievable technology, never-ending sporting events, and so many other opportunities for people to spend their time and resources. “We can only compete by exposing future audiences to the joy and challenge of live theatre. We have experienced the excitement of attending theatre with our grandchildren, sometimes after they have read the book from which the play was adapted. It is an amazing way to learn why theatre must be a part of the growth and development of young minds.”

As Bob and Carole thought about their giving, the creation of a fund that would survive them became an appealing pos-

sibility. Even more appealing was the idea that they could start to put money in the fund in their lifetime, encourage family members to partici-pate, and leave a substantial sum as a bequest to ensure the future of the fund for a long time to come. “It doesn’t appear that arts education will ever escape the need for support from the private sector… it’s a need that is not going away. It is very important to us that we can identify how funds will be used, and that they will provide an opportunity for some unknown kids to have a hell of a good time!” The Robert and Carole Slosky Fund for Arts in Education will do just that. n

FRONT ROW: (L-R) BOB & CAROLE SLOSKY, ADAM SLOSKY ~ BACK ROW: (L-R) CAMRYN SLOSKY, RACHAEL SLOSKY

“We have experienced the excitement of

attending theatre with our grandchildren, sometimes

after they have read the book from which the

play was adapted. It is an amazing way to learn

why theatre must be a part of the growth and develop-

ment of young minds.”— Carole and Bob Slosky

The Encore Society consists of members who have thoughtfully

named the Denver Center as a beneficiary in their will or other

estate plans. If you would like to learn more about The Encore

Society and giving options, please visit www.denvercenter.org/encore

or contact David Zupancic at 303.446.4811 or [email protected].

&CAROLE BOB SLOSKYThe giving doesn’t

only get better, it gets stronger and

more satisfying

NOT INSURED BY ANY FEDERAL GOVERNMENT AGENCY

NOT ADEPOSIT

NOT FDICINSURED

NOT BANKGUARANTEED

MAY LOSEVALUE

Investment Management, Trust and Estate Settlement products are:

W


When playwright Matthew Lopez was grow-ing up in Panama City, Florida—not exactly the epicenter of the modern world—he had a couple of strikes against him right out of the gate. As he put it in a recent interview, “it was not the best place to be gay and, for me, not the best place to be gay and Puerto Rican.” Got it. But for writers, every kind of writer, the wallops life dishes out have a funny way of turning into fodder—rich stuff that simply begs to be mined. “I started going to the gay bars in Panama City around the age of 16 or 17,” Lopez said, “long before I was legally allowed to go in. The downtown had started to die; there was no reason to go to downtown. But this bar stayed open—for 40 years—and was long the only gay bar in town. If you wanted to get a drink within a 15-mile radius you had to go to The Fiesta. So it became a very welcom-ing place for everybody. And therein lies the beauty of the place. This is their turf and they love it. I had never been in a place that was

so accepting of who I am. I was able to be safe and be myself, and I was taken under the wing of the drag queens there.”

That was the initial inspiration for The Legend of Georgia McBride. Yet what actually convinced Lopez to write

this comedy that takes place in a bar that’s a lot like the old Fiesta, was a second-hand account of an artist’s experiment. “I heard about a woman whose straight boyfriend was dabbling in drag as an art form,” he explained, “a performance art proj-ect. They were putting together this persona for him. There was Tammy Wynette, Dolly Parton. All of these things together became Georgia McBride.” And that was the hook. Georgia McBride is about Casey, a heterosexual Elvis imperson-ator, who loses his job at a rinky-dink small town bar just as his beloved wife informs him that she’s pregnant with their first child. What’s a fella to do? Well, a set of unfore-

WHEN

LeMons BECOME

LeMonadeMatthew Lopez’s The Legend of Georgia McBride

reminds us that love, laughter and heart can show up

in the most unpredictable places

B Y S Y LV I E D R A K E

THE

LEGE

ND O

F GE

ORGI

A M

cBRI

DE

…Ultimately, The Legend of

Georgia McBride is not a comedy

about drag people, gay people or

straight people. It’s about everyone.

It’s about survival. It’s about love…

Matthew Lopez PlaywrightILLU

STRA

TION

BY

KYLE

MAL

ONE

THE LEGEND OF GEORGIA McBRIDE

303.893.4100 APPLAUSE 11

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • denvercenter.org

Jan 10 – Feb 23 • Ricketson TheatreProducing Partners: John & Jeannie Fuller, John Strohm & Mary Pat Link

Sponsored by The Steinberg Charitable Trust

This play is a recipient of an Edgerton Foundation New American Play Award

ASL interpreted & Audio Described • Feb 2, 1:30pmPerspective on the play: Jan 10, 6pm, Jones Theatre**Attend a FREE moderated discussion about the play with DCTC’s creative team. All are welcome.

seen circumstances provides the improbable answer, and a recalcitrant Casey stumbles into a way to survive, make the money he needs for his ballooning family, even help his former employer out of a jam and, as he soon discovers, he finds he can excel at something that he had never, not even in his wildest hallucinations, ever expected to be doing: become a straight drag queen.

Georgia McBride received a reading at the 2013 Colorado New Play Summit and audiences gulped it up. So deli-

cious! They were charmed and entertained by this offbeat, sassy, funny, highly eccentric comedy. But the main reason for the play’s appeal is its very big heart. This is a comedy with the rare ability to make you laugh a lot while you also gleefully empathize with just about everything that happens in it—and everyone it happens to. It had to be really easy for Producing Artistic Director Kent Thomp-son and his team to decide to give it a slot in the regular season. Mike Donahue, who directed last year’s

reading (as well as staged another uncom-mon play, Grace, or The Art of Climbing), was invited to come back and direct the full production. “Casey is a big, openhearted guy who means well and just never quite fully grew up,” he said. “He wanted to be an actor after high school football died away. He’s got a woman in his life that he’s head over heels in love with. He lives for her and lives for being an artist. “We get to be with Casey as he learns to grow up, as he finds a way to take care of his family, finds his true artistic voice, creates a persona he can fully inhabit and starts to elevate the work in the club. “There are two love stories in the play,” he emphasized. “There is the relationship between Casey and his wife, but also the relationship that develops between Casey and Tracy [his drag-queen mentor] that is so open-hearted and rich.”

Costumes, of course, can’t help but be cen-tral to this show and costume designer Dane Laffrey has pulled from a broad swath of ideas, saying “The personas of these queens are very much things we wanted to develop with the actor.” And so he did. “It’s just meant to be fun.” Not to be outdone, set designer Donyale Werle has reserved a few surprises of her own. “We’ve come up with a space that is extremely mundane & highly theatrical at the same time,” she offered enigmatically. “Everything occurs on stage and backstage. There are tricks built in, but when you walk into the theatre it’s like you’re walking into The Ricketson as it normally is…but not really. We are very interested in exploring the illusion of backstage. Most importantly, this is a space that allows the multitude of the characters’ individual personas to shine.” The music? All pre-existing, canned music from America’s rich songbook and more, out of which a score was created. “This play is basically a book musical,” said Donahue,

“even though they’re lip-synching.”

The production also benefits from some-thing entirely novel. Charlie Miller and Emily Tarquin, the curators of

Off-Center, the Theatre Company’s brashest experiment with new theatre, were charged with curating Georgia McBride. They took what was happening on stage and figured out a way to extend the experience beyond—into the lobby. The goal was to broaden the experi-ence, extend the enjoyment without, let’s say, inflicting it. The intent is to gently coax the audience into an immersive environment that is entirely safe. Since this issue of Applause went to press before our curators had the chance to fully develop their plan—and since the idea itself is so new—you’ll have to determine for yourself how well they’ve succeeded. For all of the fun that this imaginative and unlikely confluence of talent delivers, it’s important to keep in mind that, ultimately,

The Legend of Georgia McBride is not a comedy about drag people, gay people or straight people. It’s about everyone. It’s about survival. It’s about love—a love story filled with dramatic opportunity: The novelty, the music, the crazy, colorful costumes, the glitz (sometimes the shabby glitz?), the loyalties, the growth and maturation of not one but almost every character in it. It’s a chance to stretch minds, accentuate the positive, warm the heart, reach out with humor, acceptance and kindness. Especially kindness.

Lopez wrote this play, he said, in part as a reaction to the hate and violence that have become so ubiquitous and

prevalent in the society. “I wanted to emphasize that,” he said, “find the kindness we need.” Did he succeed? Did we? That, too, will be for you to decide. n

Mike Donahue Director Donyale Werle Set designer Dane Laffrey Costume designer

The Denver Center Theatre Company’s new play program is one of the top five in the nation. Plays as diverse as Love, Janis, Quilters, Inana, Plainsong, Lydia, The Whale and so many more have had their start in Denver and

gone on to be produced in theatres across the country.

The development of new plays and musicals involves risk and risk is always expensive. Our New Play Development Fund enables us to commission the most

talented playwrights and to host the Colorado New Play Summit every year.

We hope that you will consider making a donation to the New Play Development Fund. We appreciate

any contribution that you can make.

“NAME A SEAT” IN THE RICKETSON THEATRECommemorate an occasion or honor a loved one

when you name a seat for $1,000. Your gift is 100% tax deductible and it supports new plays.

Quarterly or monthly payments are available. Here are a few examples:

NEW

PLA

Y DE

VELO

PMEN

T FU

ND

Sense & Sensibility The Musical

W E A R E P R O U D T O P L AY A R O L EIn furthering American theatre, but…

We can’t do it without you!

In Celebration of L. Roger & Meredith Hutson

13-May-13

Danny Showers Entertainment

Sylvie Drake Jurras …because I love

sitting beside you

In Honor of Ty Jurras

from family & friends

THREE EASY WAYS TO DONATE: BY MAIL: 1101 13th Street, Denver, CO 80204 ~ Attention: Development

ONLINE: denvercenter.org/donate BY PHONE: 303.446.4802

Grace, or The Art of Climbing

Quilters

(L-R

) VIC

TORI

A AD

AMS-

ZISC

HKE,

KAT

HLEE

N M

. BRA

DY, L

INDA

MUG

LEST

ON,

KARA

LIN

DSAY

. PHO

TO B

Y TE

RRY

SHAP

IRO.

“Theatre, Ty and I were a tight threesome from the time I met him, fell in love with him and married him. What better way to honor his memory and our 40 years together than by making sure we’d be sitting together at the theatre forever?” ~ Sylvie Drake Jurras, Editor, Applause

“As a musician and patron of the theatre, I am always looking for ways to support the arts. By putting my company’s name on seat plaques, I am reaching a target audience of people who hopefully love the theatre as much as I do. It’s a great marketing opportunity.” ~ Danny Showers, Danny Showers Entertainment

“Meredith and I were married last May and we were moved when we learned that a seat had been named in honor of this occasion. We love coming to the theatre, so this certainly was a unique way to celebrate our marriage.” ~ L. Roger Hutson

JULI

E JE

SNEC

K. P

HOTO

BY

JENN

IFER

M. K

OSKI

NEN

JERE

MIA

H JA

MES

, MAR

Y M

ICHA

EL P

ATTE

RSON

. PHO

TO B

Y JE

NNIF

ER M

. KOS

KINE

N

JFS EXECUTIVE LUNCHEONWednesday, April 30, 2014 • Grand Hyatt Denver

Sponsorships available. Contact Dawn Richard, 720.248.4605, [email protected].

Tickets at www.jewishfamilyservice.org/luncheon.

ARCHIE MANNINGA legend in football. A legend in life.

303.597.5000 • www.jewishfamilyservice.orgShenYun.com

FEB 18–19 THE BUELL THEATRE

ALL-NEW 2014 SHOWWITH LIVE ORCHESTRAREVIVING 5,000 YEARS

OF CIVILIZATION

ONLINE: TicketingBox.comPHONE: 888-9-SHENYUN(974-3698), 888-316-4234

On Saturday April 6, 1974, in the English coastal town of Brighton, a group known only in their native Sweden won the

Eurovision Song Contest with a song entitled “Waterloo.” For Napoleon, Waterloo was trouble. For this upstart singing group it was the start of some-thing bigger than they could have anticipated. So begins the improbable saga of ABBA. The phenomenal success of the decade-long association of Agnetha Faltskog, Benny Anders-son, Björn Ulvaeus and Anni-Frid Lyngstad (the initials of their first names were to form the name ABBA) is of mythical proportions. Over the next eight years, they would achieve countless hit singles, platinum albums, sell-out concert tours and even a movie. The group’s domination of the European charts was uncon-tested. Only the Rolling Stones, Elvis and the Beatles achieved longer runs of Top 10 singles. Across the Atlantic, the hits continued: ten ABBA songs made it to the Top 20 in the U.S., with “Waterloo,” “Take a Chance On Me” and “The Winner Takes It All” making it to the Top 10. “Dancing Queen,” the superhit at the heart of the musical Mamma Mia!, placed ABBA center stage at Number One. At last count, ABBA had sold more than 350 million records worldwide. Europe and North America were not alone in experiencing ABBAmania. There were consecutive Number One singles and/or albums in Australia, more records set—and broken—in New Zealand, Mexico, Japan, Zimbabwe (Zimbabwe?) where the group scored 13 Top 10 singles and no fewer than eight consecutive Number One albums. And by 1982… It was all over. Plans for another new album were abandoned and the album The Singles—The First Ten Years, released in its place.

Yet despite the fact that ABBA ceased to record or tour, the music refused to die. ABBA’s innumerable hits are as popular

today as they were when first released. The movies Muriel’s Wedding (1995) and Priscilla, Queen of The Desert (1994), as well as the deli-cious musical based on that movie, all feature ABBA music, amassing whole new generations of fans. It was on March 23, 1999 that Mamma Mia!—a show constructed from 22 of ABBA’s most memorable songs—was put in front of a paying audience in London’s West End. Let’s be clear: musicals are not supposed to be created

this way. Usually, someone has a story to tell and someone else (or the same person) creates the songs to punctuate and illustrate that story. Taking a bunch of songs previously conceived as singles, and finding a unifying thread that cobbles them together into a musical, was as heretical as it sounds. Assuming it could be done at all, who could have imagined that it would turn into this huge, everlasting hit, with a proliferation of ongoing productions around the world over many, many years? It’s enough to give Waterloo a good name. Mamma Mia! received the sort of welcome on that first night in London that it has sustained ever since. Theatregoers appear to be ecstatic—reliving memories or discovering ABBA for the first time. But on that spring evening in London, Mamma Mia! was an unknown quantity. “We really had no idea how it was going to be received,” reflected producer Judy Craymer, whose initial concept it had been to use existing ABBA songs to construct an original musical. “The audience went wild,” she told a reporter. People “were literally out of their seats and singing and dancing in the aisles—and they still are. Every night.”

Soon they were doing so all over the globe. The reason is simple: Mamma Mia! is an entertainment phenomenon that hits you at

gut level. More than 30 million people in the known world have fallen in love with the char-acters, the story, the music. Book writer Cath-erine Johnson’s tale unfolds on a Greek island. (How many people will visit a Greek island any other way?) On the eve of her wedding, a clever daughter, eager to know the identity of the father her mother has refused (or been unable) to di-vulge, manipulates three men from her mother’s past into returning to the island where they last saw her 20 years before. Phyllida Lloyd, Mamma Mia!’s original director, says she was offered the job only after “some wonderful person” (who must be very, very, very sorry now) dropped out. More than a year of workshops followed with book writer Johnson, ABBA’s Ulvaeus and Andersson, choreographer Anthony van Laast and designer Mark Thompson. A life-changing anecdote Lloyd likes to tell is that, if the show is such a hit today, it is thanks to the relative of a company member who sent an unsolicited letter telling her how to fix a problem she had been struggling to identify. This gentle-man explained that the show’s first two scenes were, in his words, “the wrong way around.”

“I handed the letter to Anthony van Laast,” Lloyd said. “We looked at each other and knew we had to change it. The new opening was immediately right. It makes it clear that this is a domestic, intimate show. The moral of the story for me was ‘Don’t ever be too proud to take advice.’ ”

Ultimately, however, the success of Mamma Mia! rests in equal measure with all of its creators, whose tenacity and imagination

persevered. In the process of personalizing a fa-miliar repertoire of ABBA songs, they focused on a fresh approach that held on to the music’s pop integrity while advancing an affectionate and appealing story. And the show just keeps touring along. To quote Lloyd, as she coyly assured the ac-tors in that original London cast: “Mamma Mia! is the musical Benny and Bjorn wrote years ago. They just decided to release the songs first.” n

Part of the information contained in this article is courtesy of the Mamma Mia! web site and related materials.


MAM

MA

MIA

!


TM

Jan 28 – Feb 2 • Buell TheatreSponsored by AARP

ASL interpreted, Audio Described and Open Captioned performance • Feb 1, 2pm

Mamma Mia! Who knew that success was spelled ABBA?

© L

ITTL

ESTA

R

fridays in january 8pm

top hats & tassels revue

On

denver’s variety nightclub

the Coolest room in town!Underground at the Clocktower | 16th Street Mall at Arapahoewww.lannies.com | (303) 293.0075

saturdays jan 11th, 18th, 25th 8pm

Pure Piaf

starring britta laree

the life and Music of edith piaf

"Laugh all you want, this woman can sing!"

saturdays in february 8pmlannie garrettin the hiLariOus cOuntry spOOf

the

(

(

showpatsy decline

MEN’S RIGHTS

BlochChapleau.com

(303) 331-17001725 Gaylord St. Denver

Denver | Park Meadows | Vail Offices

• FAMILY LAW

• DIVORCE

• CUSTODY/VISITATION

• PATERNITY

• JUVENILE MATTERS

• SUPPORT/ALIMONY

• PROPERTY DIVISION

• DOMESTIC VIOLENCE

• CRIMINAL DEFENSE

• PRENUPTIAL AGREEMENTS

• CIVIL UNION DISSOLUTIONS

“Protecting Men’s Rights for Over 25 Years”


What attracted you to Homer’s The Odyssey?

I grew up reading a lot of books and had a particular fascination with the Greeks because I like adventure stories, history and myths. I like stories that wrestle with the notion of why we are here and why nature can be both terrifying and utterly beautiful. What drew me to The Odyssey in particu-lar is the idea of the endless journey and being lost. I could not get rid of the image of soldiers returning home after war and embracing their children for the first time. I think the story of The Odyssey is universal. People can experience an internal odyssey as well, and I wanted to explore that.

You’ve described your writing process as creating a dish from a recipe. Can you describe what ingredients went into this play?

The ingredients for this play are: the original text, spirituals, hymns and melodies from West Africa, the culture and language of contemporary Harlem, African Ameri-can history and African American folk-lore. When you mix the ingredients together my hope is that you feel the full tapestry of who we are as Americans and also taste the rich essence of history in both its tragic and celebratory moments. I also hope that the end result will give people hope for the future.

What are the different styles of music you use in the story?

Every major style of American music. The play is also a journey through American music history. I want audiences to feel the full musical breadth of our country.

Does music play a central role in your other plays?

Music plays a pivotal role in all of my plays. I find music to be a great soundscape for the worlds I write about. It sets mood, it is great for transitions and sometimes can be the most profound way to get to the heart of expressing something that dialogue just cannot.

With his play black odyssey, Marcus Gardley has chosen an abiding Greek myth to enlighten us on the modern

tribulations of an African American Ulysses

B Y D O U G L A S L A N G W O R T H Y

Every element of Marcus Gardley’s plays are infused with his poetic voice. Be it his titles (the road weeps, the well runs dry), his heightened language or his stage directions (He guides the cane to a star. It burns like a comet), there is no mistaking the poet in the playwright. Gardley started his career writing poetry and has expanded his poetic style through his dramatic writing. In fact, all of his favorite playwrights are also poets. So what is a director supposed to do with a stage direction like the example given above? Marcus says he doesn’t mean these stage direc-tions to be taken literally (phew), but are meant to express the emotional weight of a moment. The creative team is encouraged to interpret them with creativity and originality. “Theatre is collabora-tive,” Gardley states. “I want my stage directions to speak to the nature of making something together.” In black odyssey, the playwright focuses his imaginative powers on a mash-up of Greek myth and African American history. Applause recently caught up with Gardley to talk recipes, mythology and journeys of self-discovery.

what’s past is presentBL

ACK

ODYS

SEY

Does African American culture have its own mythology?

For me, myths are sacred stories. So yes, African Americans have many sacred stories. African American history is shaped by stories that are passed down from generation to generation. These stories record the life of one time—and change to embrace another. I think sacred stories and the adaptation of these stories remind us that the great lessons of life are still being learned, that even though we are evolving, improving, moving bodily into the future, we still have so much to gain from the past.

In your play, Ulysses confronts his own lineage as an African American man. Is this something we all must do— discover where we came from—in order to discover who we are?

I think that the journey into our past is vital for understanding who we are. It’s not just about learning one’s genealogy, although that is important. It is also neces-sary to learn about one’s cultural past. I find that a lot of African American history is still not taught in our schools. I wanted to give audiences a more thorough journey into that history. I wanted to celebrate and honor my culture with this play. What is Ulysses trying to find besides his home? Is there a larger significance to his journey?

Ulysses is trying to find himself. That is his real journey. His pre-war existence was very hard and his life on active duty is equally hard. He has become lost—and given up on humanity. He must find his history and, to this end, himself. No man can know himself if he doesn’t know his history. This could be familial history, cultural history, even national history. All of these histories are a part of who we are. When we accept, learn from and celebrate who we are then we can move forward.

Why is water such an important motif in the play?

Water is a silent character in the play. It is nature that moves the characters forward and allows them to crash into one another. Water is a symbol of fate.

The gods in the play comport them-selves at times like grown-ups and at times like children. Was this playful quality something you found in your reading of Greek mythology?

Yes, indeed! The best thing about the gods in Greek mythology is their human characteristics. If they truly were infal-lible, the stories would not be half as interesting. Moreover, it is their struggle to be godly that inspires us. What I find most prominent in Greek mythology is that the gods are easily offended. I wanted the gods in this play to be more driven by principle and the need to protect their chil-dren. In this way, the gods are ancestors. They are a part of us. Perhaps, the better parts of us. Yet and still, they err, and they are most fascinated by our humanity.

What happens when a god descends into the human world?

Then godly laws are broken. For this to happen, there must be a great need among the mortals. When a god descends, a wrong must be made right and a god will risk her/his immortality to dwell among us. This is because gods sympathize more viscerally when they are among us—they lose their godliness. They relate and gain a deeper sense of compassion—they can-not help it. Gods are meant to judge, not sympathize—this is how they lose their power. It’s their ability to manipulate us that makes them powerful. When they are among us, our humanity is so strong that they become the manipulated. Only the bravest of gods come down to dwell among us.

The play is often so funny. Why was it so important for you to inject humor into the play?

Humor helps audiences feel the full weight of tragedy. I don’t necessarily think that humor is required in a tragedy, but I think it can be useful to set up tragic elements. We laugh and cry with the same muscle. Most of my plays exercise this muscle. I am interested in using humor so that the muscle is already stretched. Then when tragedy arises, we are allowed to feel, to compare how delighted and how sorrowful life can be.

Are you excited to be presenting your play in the round?

Yes. It will give audiences a sense of the earth’s globe, the world. It will also allow them the freedom to see others while watching the play, which I always find intriguing. It makes the action feel Greek—it is in an arena. There are specta-tors who are a part of the live action. It feels Olympic. n

Douglas Langworthy is the Literary Manager of the Denver Center Theatre Company

BLACK ODYSSEY

303.893.4100 APPLAUSE 17

“No man can know himself if he doesn’t know his history. This could be familial history, cultural history, even national history. All of these histories are a part of who we are.”

— Marcus Gardley, playwright


Jan 17 – Feb 16 • Space TheatreProducing Partners: Allison & Jim Shetter, Tina Walls, Jim Steinberg & Lori Watson

ASL interpreted & Audio Described • Feb 16, 1:30pm

Perspective on the play: Jan 17, 6pm, Jones Theatre**Attend a FREE moderated discussion about the play with DCTC’s creative team. All are welcome.

DenverDBSCenter.org

1-855-202-9303 (toll free)

Specializing in the surgical treatment of:

• Parkinson’s • Essential Tremor • Dystonia • OCD

Deep brain stimulation can be performed with either the traditional awake method, or while the patient remains completely asleep.

David VanSickle, MD, PhD

7780 S. Broadway, Suite 350Littleton, CO 80122

An affiliation of South Denver Neurosurgery

Mariel Szapiel, MD

Honor Those You Love

A Locally Owned & Operated Mortuary

1534 Pearl Street, Denver, CO [email protected]

303.837.8712 (24/7)

• Accredited Professional Team

• Serving All Faiths

• Grief Support

• On-Site Crematory

• Available Statewide, 24/7

• Pre-Plan Savings & Veteran’s Benefits

With the Choice of Monarch Society“Thank you to each & everyone at Monarch Society

for your help, support, kindness & compassion. We will be forever grateful” - P & D

OPERACOLORADO.ORG/2014 • 303.468.2030

©Tim Fuller/Arizona Opera ©Don Sausser/Opera Coeur d’Alene

MAR. 15 | 18 | 21 | 23 2014

GORDON HAWKINS AS

LEONARDO VORDONI, CONDUCTOR ROBERT WOOD, CONDUCTOR

RIGOLETTOMAY 3 | 6 | 9 | 11 2014

SANDRA PIQUES EDDY AS

CARMEN“...POWERFUL SINGING OF THE BARITONE GORDON HAWKINS...

WHO NEARLY STOLE THE SHOW ALL EVENING.”THE NEW YORK TIMES

“MS. PIQUES EDDY, A SWAN-NECKED MEZZO WITH FINE TECHNIQUE, A RANGE OF COLORS FROM HONEYED TO BRIGHT AND CHARM TO BURN.”

THE NEW YORK TIMES

RENÉ BARBERA RACHELE GILMORE DANA BETH MILLER JANAI BRUGGER JAY HUNTER MORRIS RYAN KUSTER

First Class Convenience for DIAFirst Class Convenience for DIA

COMPARE and SAVE!

Your LOCAL Choice Since 1998! * Daily Price with Use of Coupon, does not include Access Fee.

DIA Covered Parking $23.00/dayUSAirport Covered Parking* $12.00/dayDIA Outerlying Shuttle Lots $8.00/dayDIA Economy Lots $12.00/dayUSAirport Open Parking* $7.00/day

Valet fees extra. Valid With Or Without Frequent Parker Card. Not Valid With Any Other Offer.

One Per Visit. Not Valid With Monthly Or Yearly Prepaid Rates. Rates & Offers Subject To

Change. Access fees do apply.

Expires 6/30/2014

Expires 6/30/2014

EVIT

ADenver Center Attractions The Broadway division of The Denver Center for the Performing Arts

and Season Sponsors

and

HAL LUFTIG SCOTT SANDERS PRODUCTIONS TROIKA ENTERTAINMENTJAMES L. NEDERLANDER TERRY ALLEN KRAMER ANTHONY NICHOLSON TOM & CONNIE WALSH ROY FURMAN

YASUHIRO KAWANA ALLAN S. GORDON & ADAM S. GORDON RAINBOW TOUR PRODUCTIONS/MICHAEL J. MORITZ, JR.PITTSBURGH CLO JOHN & DIANE CHACHAS JUST FOR LAUGHS THEATRICALS/GLASS HALF FULL PRODUCTIONS

RICARDO HORNOS CAROL FINEMAN BRIAN SMITH and WARREN TREPP

Lyrics by Music by

TIM RICE ANDREW LLOYD WEBBERstarring

CAROLINE BOWMAN JOSH YOUNG SEAN MacLAUGHLINwith

CHRISTOPHER JOHNSTONE KRYSTINA ALABADOand at certain performances

DESI OAKLEYplays the role of “Eva”

RYAN K. BAILER NICHOLAS BELTON JESSICA BISHOP RONALD L. BROWN HOLLY ANN BUTLERDIANA DiMARZIO SAMANTHA FARROW KATHARINE HEATON TONY HOWELL

KATIE HUFF PATRICK OLIVER JONES CHRIS KOTERA IAN LIBERTO ALISON MAHONEY ROBIN MASELLA MEGAN ORT JOHN RIDDLE MORGAN ROSE JEFFREY C. SOUSA TUG WATSON

Scenic & Costume Design Lighting Design Sound Design CHRISTOPHER ORAM NEIL AUSTIN MICK POTTER Wig & Hair Design Projection Design Casting RICHARD MAWBEY ZACHARY BOROVAY TELSEY + COMPANY CRAIG BURNS, CSA Technical Supervisor Production Stage Manager Advertising Marketing/Press Representative MB PRODUCTIONS BONNIE PANSON SPOTCO ANITA DLONIAK & ASSOCIATES, INC. Music Director/Conductor Music Coordinator Dance Arrangements General Manager WILLIAM WALDROP DAVID LAI DAVID CHASE JOE CHRISTOPHER TALITHA FEHR Music Supervisor Tour Director Tour Choreographer Orchestrations KRISTEN BLODGETTE SETH SKLAR-HEYN CHRIS BAILEY ANDREW LLOYD WEBBER & DAVID CULLEN

Choreographed by

ROB ASHFORDDirected by

MICHAEL GRANDAGEOriginally prOduced by andrÉ pTaSZynSKi fOr THe really uSeful THeaTre cOMpany.

WOrld preMiere Of Evita direcTed by HarOld prince in 1978.

Sponsored in Denver by:

EVIT

A

Che ................................................................................................................ JOSH YOUNG

Eva .................................................................................................... CAROLINE BOWMAN

Eva (at certain performances) ........................................................................DESI OAKLEY

Magaldi ..................................................................................CHRISTOPHER JOHNSTONE

Perón ................................................................................................. SEAN MacLAUGHLIN

Mistress ..............................................................................................KRYSTINA ALABADO

Cabinet Members .........RYAN K. BAILER, RONALD L. BROWN, PATRICK OLIVER JONES

Priest ....................................................................................................RONALD L. BROWN

Italian Admiral ....................................................................................RONALD L. BROWN

Mother of Child ................................................................................... ALISON MAHONEY

Nurses ............................................................................ALISON MAHONEY, MEGAN ORT

“DON’T CRY FOR ME” QUARTETKRYSTINA ALABADO, HOLLY ANN BUTLER, KATHARINE HEATON, MEGAN ORT

EVA’S FAMILYRYAN K. BAILER, DIANA DiMARZIO, TONY HOWELL, KATIE HUFF, MEGAN ORT

EVA’S LOVERSRONALD L. BROWN, TONY HOWELL, JEFFREY C. SOUSA, CHRIS KOTERA

GENERALSRYAN K. BAILER, NICHOLAS BELTON, PATRICK OLIVER JONES, JOHN RIDDLE

ENSEMBLEKRYSTINA ALABADO, RYAN K. BAILER, NICHOLAS BELTON, JESSICA BISHOP, RONALD L. BROWN,

HOLLY ANN BUTLER, DIANA DiMARZIO, SAMANTHA FARROW, KATHARINE HEATON, TONY HOWELL, KATIE HUFF, CHRISTOPHER JOHNSTONE, PATRICK OLIVER JONES,

CHRIS KOTERA, ALISON MAHONEY, MEGAN ORT, JOHN RIDDLE, JEFFREY C. SOUSA

UNDERSTUDIESUnderstudies never substitute for listed performers unless

a specific announcement is made at the time of the performance

For Eva—DESI OAKLEY, HOLLY ANN BUTLERFor Che—NICHOLAS BELTON, JOHN RIDDLE

for Perón—RYAN K. BAILER, PATRICK OLIVER JONES for Magaldi—NICHOLAS BELTON, JOHN RIDDLE

for Mistress—HOLLY ANN BUTLER, KATIE HUFF, MEGAN ORT for Mother of Child—KATHARINE HEATON

SWINGSIAN LIBERTO, ROBIN MASELLA, MORGAN ROSE, TUG WATSON

ASSISTANT DANCE CAPTAINROBIN MASELLA

DANCE CAPTAINIAN LIBERTO

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited.

CAST

EVIT

A

ACT I“Requiem” ............................................................................................. The Company

“Oh, What a Circus” ...................................................................... Che and Company

“On This Night of a Thousand Stars” .............................................................Magaldi

“Eva, Beware of the City” ..........................................Magaldi, Eva, Che and Family

“Buenos Aires” ......................................................................Eva, Che and Company

“Goodnight and Thank You” ..................................................... Che, Eva and Lovers

“The Art of the Possible” .......................................................Perón, Eva and Officers

“Charity Concert” ................................................Magaldi, Che, Perón and Company

“I’d Be Surprisingly Good for You” .....................................................Eva and Perón

“Another Suitcase in Another Hall” .............................................................. Mistress

“Perón’s Latest Flame” .................................................................. Che and Company

“A New Argentina” .....................................................Perón, Eva, Che and Company

ACT II“On the Balcony of the Casa Rosada” ........................................ Perón and Company

“Don’t Cry for Me Argentina” ...............................................................................Eva

“High Flying, Adored” .............................................................................Che and Eva

“Rainbow High” ...................................................................................Eva and Valets

“Rainbow Tour” ..........................................................Perón, Che, Eva and Company

“The Chorus Girl Hasn’t Learned” ................................................ Eva and Company

“And the Money Kept Rolling In” ................................................. Che and Company

“Santa Evita” ...............................................................Mother of Child and Company

“Waltz for Eva and Che” .........................................................................Eva and Che

“You Must Love Me” ............................................................................................Eva

“She Is a Diamond” .......................................................................Perón and Officers

“Dice Are Rolling” ...............................................................................Perón and Eva

“Eva’s Final Broadcast” .........................................................................................Eva

“Montage” ............................................................................................. The Company

“Lament” ................................................................................................................Eva

SETTING

Junin and Buenos Aires, Argentina, 1934–1952

THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION.

ORCHESTRAConductor: William Waldrop

Associate Conductor: David SawickiKeyboard 1: Christian Regul; Keyboard 2: David Sawicki

Concert Master: Susan French; Drums: Adam Wolfe

Music Coordinator: David Lai, Talitha FehrSynthesizer Programmer: Stuart Andrews

Music Copyist: Rob Meffe

MUSICAL NUMBERS

EVIT

A WHO’S WHO in the CAST

CAROLINE BOWMAN (Eva). Broadway: Kinky Boots (origi-nal cast member), Wicked. Tours: Spamalot (Lady of the Lake), Fame: The Musical (Carmen), Grease (Rizzo). Workshops/readings: Kinky Boots, Empire (Tanis). Proud graduate of Penn State University, B.F.A. Musical Theatre. Originally from the Baltimore/Washington area. Soffer/Namoff Entertainment: Thank you for changing my life. All my love and thanks to my beauti-ful family and friends. Shout out to Telsey Casting/Craig Burns for believing in me. Mom and Dad, I am forever indebted to you. God is good! @CarolineVBowman

JOSH YOUNG (Che) received a 2012 Tony Award nomination and Theatre World Award for his criti-cally acclaimed Broadway debut as Judas in Andrew Lloyd Webber’s Jesus Christ Superstar, director Des McAnuff. Two seasons at The Stratford Shakespeare Festival: Judas in JCS, Connie Rivers in Grapes of Wrath and Che in Evita, direc-tor Gary Griffin, earning Broadway World Awards for each. Josh played Marius in the National Tour of Les Misérables and Tony in the International Tour of West Side Story. Debut and new album Still Dreaming of Paradise are available on iTunes, Amazon, www.Josh-Young.com and at this theater’s merchandise stands wherever Evita merchandise is sold. B.F.A. Syracuse University. Tweet @joshpaulyoung

SEAN MacLAUGHLIN (Perón) was last seen on Broadway, U.S. and Canada as Raoul in The Phantom of the Opera. Other Broadway credits include: Bombay Dreams, the original casts of The Woman In White and Elton John’s Lestat. Off-Broadway: Tut (NYMF), Requiem for William, The Audience and Baby: In Concert (Transport Group). Some favorite regional credits include: Camelot (Lancelot), The Rainmaker (Starbuck), The

Rink (Dino), Floyd Collins (Homer), Violet (Monty), Kennedy Center’s Sondheim Celebration: Merrily We Roll Along and many more. Film/TV: “Something the Lord Made” (HBO) and “South Pacific Live from Carnegie Hall” (PBS). Equity Member since 1999. For Elaine and Quinn.

DESI OAKLEY (Eva Alternate) is thrilled to be hitting the road with the cast of Evita! Broadway: Annie (Original revival cast), Wicked. National tour: Wicked. Regional: Ariel , The Lit t le Mermaid ; MTWichita. B.F.A., University of Michigan. After playing Eva Peron in college, it is an honor for her to portray this dynamic and powerful woman again. Gracious thanks to the Evita team, CGF Talent, and Telsey & Co. Endless love to family and friends, espe-cially M&D, F, C&L, JLK, LG and A. For Daddy. Proverbs 3:5-6. www.desioakley.com

CHRISTOPHER JOHNSTONE (Magaldi). South Pacific first national tour Lincoln Center (Lt. Cable, u/s); Fiddler on the Roof Lyric Opera San Diego (Perchik); South Pacific Ogunquit Playhouse (Lt. Cable); Tommy! TCR (Capt. Walker); Dido & Aeneas Mark Morris Dance Group (Aeneas); A Little Night Music Boston Pops; Pirates of Penzance Glimmerglass; Mahagonny Tanglewood; The Apartment NYCFringe. TV: “All My Children,” “Personal Justice,” “Watch What’s Happening Live.” www.johnstonechristopher.com

K R Y S T I N A A L A B A D O (Mistress, Ensemble). Broadway: Green Day’s American Idiot. First National Tours: Spring Awakening, American Idiot (dir. Michael Mayer). Off-Broadway/Regional: Camp Wanatachi (La MaMa), Pregnancy Pact (Weston Playhouse, Yale), Table (Long Warf Theatre), Fall Springs (Ars Nova),

Freckleface Strawberry (MMAC reading). Huge thanks to Dad, Mom, the twins, Terry and Marilyn my managers, Jo, CESD, Telsey & Co, and love to my Matt. Proud Equity member! @krystinaalabado

RYAN K. BAILER (Ensemble) is thrilled to be a part of Evita! Former credits include Les Misérables (third National Tour, Javert u/s), Evita (Chicago’s Marriott Lincolnshire, Peron u/s) and Forever Plaid (Chicago’s Royal George, Smudge). Ryan has a B.F.A. in Musical Theatre from the University of Michigan, and is ever grateful to his friends and family for their love and support!

N I C H O L A S B E L T O N (Ensemble). Hair (Broadway and tour), Natasha Pierre & The Great Comet of 1812, See Rock City & Other Destinations and Normal (Duke on 42nd), Wicked (Chicago), My Life With Albertine (Playwrights Horizons). Regional: Turn of the Century (Goodman Theatre), Carousel (Long Wharf Theatre), Court Theatre, Chicago Shakespeare, Fords Theatre, Crossroads and Idaho Shakespeare. Nick’s also a private chef. www.kitchensurfing.com/nicholasbelton

JESSICA BISHOP (Ensemble) is thrilled to tango with this awe-some cast! Bishop leaped onstage in 2008, playing Meg Giry in the national tour of The Phantom of the Opera, a role she later reprised on Broadway in 2011. Other cred-its include Broadway’s revival of West Side Story, Julianne Moore’s Freckleface Strawberry, Carousel at Goodspeed and Our Town with Hal Holbrook. Hab 3:2 www.jessica-bishop.com

R O N A L D L . B R O W N (Ensemble). Tours: Man of La Mancha (Cervantes), My Fair Lady, Evita (Juan Peron). Regional: Red (Mark Rothko), Camelot (Merlyn/Pellinore), Evita (Juan

EVIT

A

Peron), Annie and Annie Warbucks (Daddy Warbucks), Man of La Mancha (Cervantes), Cats (Old Deuteronomy), The Secret Garden (Archibald), The Light in the Piazza, On The Twentieth Century, many others. Proud and active member of Actors’ Equity Association.

H O L L Y A N N B U T L E R (Ensemble ) . Broadway/Off -Broadway: How to Succeed… (Hedy, Smitty, Miss Jones u/s), Grease (Rizzo u/s), Happiness (dir. Susan Stroman), Anyone Can Whistle (Encores!). National tours: Flashdance (Alex, Gloria, Tess u/s), Shrek (Fiona u/s), Jersey Boys (Lorraine). Regional: …Millie—Millie (Drury Lane, Jeff nomina-tion); Grease—Rizzo (Gateway Playhouse). Film/TV: Looking for Trouble, “Figure It Out.” Thanks: The Mine, Jeff Halpern and my family.

DIANA DiMARZIO (Ensemble). Broadway: Sweeney Todd w/Patti Lupone (Beggar Woman, original cast recording). National tours: Light in the Piazza (Signora Naccarelli), Man of LaMancha (Aldonza), Sweeney Todd (Beggar Woman), A Christmas Carol (Mrs. Cratchit). Regional: Ten Cents a Dance (Williamstown Theater Festival, McCarter Theater). Europe: Sweeney Todd (Bavarian Radio Orchestra, cast recording), Carmen (Frasquita). Film: Find Me Guilty. TV: “The Sopranos.” Graduate of Carnegie Mellon University. dianadimarzio.com

S A M A N T H A F A R R O W (Ensemble) is so blessed to be a part of the Evita national tour. Previous theater and dance credits include: Cirque du Soliel (Zaia), Wicked sec-ond national tour, Sweet Billy and the Zooloos, NYC Summerstage with Nathan Trice Rituals and Jacob’s Pillow w/Abraham in Motion. She received her B.F.A. from NYU. All love and thanks to my family, MSA and Telsey.

K A T H A R I N E H E A T O N (Ensemble) . National tours: Grizabella and Jellylorum (30th anniversary Cats); Fiddler on The Roof. Favorite credits: Footloose (Cape Playhouse); A Christmas Carol (North Shore Music Theatre); Violet (New York University); George M! (Westchester Broadway Theatre); James Taylor’s One Man Band Tour/CD/DVD; National Anthem (Yankee Stadium). Thanks to my parents, Telsey, Seth, Kristen, The Mine and everyone who helped me get here. Psalm 28:7

TONY HOWELL (Ensemble). Off-Broadway: 50 Shades of F****d Up (original cast), Broadway Varietease (Swing). Tours: Disney’s Beauty and the Beast (Swing, u/s Lefou). Regional: Show Boat (Kennedy Center), Cabaret (Merry-Go-Round Playhouse) and Cats (Gateway Playhouse) et al. Founder of Creative Social Media. Let’s connect at www.Tony-Howell.com and @TonyHowell!

KATIE HUFF (Ensemble). Credits include: The Sound of Music, Seven Brides for Seven Brothers, Spamalot, Gypsy, Singin’ in the Rain (Drury Lane), Chicago (Mason Street Warehouse), My Fair Lady (Paramount Theatre), Merrily We Roll Along (Music Theatre Company), as well as a number of concerts with The Broadway Dreams Foundation. B.F.A.: Chicago College of Performing Arts at Roosevelt University.

PATRICK OLIVER JONES (Ensemble) is enjoying his sec-ond national tour, having just traveled the country with The Addams Family (u/s Lurch, Mal). Off-Broadway credits include Extraordinary Ordinary and Magdalene. Regionally he’s done Les Misérables, Tommy, Camelot, Grease (alongside Joey Fatone), in addition to co-starring on “Law & Order: CI” and “Blue Bloods.” Thanks to God, Mom, Ross and

friends for continued love and sup-port. www.patrickoliverjones.com

CHRIS KOTERA (Ensemble). A Kansas native, Chris is excited for his first national tour! Regional: Riverside, Pioneer Theatre, KC Starlight, Casa Mañana, STAGES St. Louis, Pennsylvania Shakespeare , New Thea t re Restaurant and Discoveryland! Chris is a graduate of the University of Oklahoma and currently a student at the Upright Citizens Brigade. Much thanks to family, friends, coaches and especially teachers!

IAN LIBERTO (Swing, Dance Captain). Broadway: Chaplin (OBC); How To Succeed…; Promises, Promises; Billy Elliot. Tours: A Chorus Line, Thoroughly Modern Millie and Billy Elliot. Regional: Paper Mill, TUTS, Sac Muisic Circus, Ravinia Festival, Marriott Theatre, Gateway, Kennedy Center. Love to mom and Kasey. Graduate of Millikin University. @ianliberto

ALISON MAHONEY (Ensemble). NYC: Ragtime anniversary concert (Avery Fisher), Church (Public Theater), Dream of Love (Lincoln Center). Regional: A Little Night Music (Baltimore Center Stage), Ragtime, The Sound of Music (Paper Mill), The King and I (OSTC). Soloist: Avery Fisher, Alice Tully, Boston Esplanade, the Vatican. As The Singing Baker: Food Network, CBS from the Couch and Playbill.com. Thanks to friends and family. www.alisonmahoney.com

ROBIN MASELLA (Swing, Assistant Dance Captain) is thrilled to be making her touring debut with Evita! NY Credits: Candide (Lincoln Center/NYCO). Regional favorites include Disney’s The Little Mermaid, Crazy For You (Dance Capt), Seven Brides…, Carnival! (Dance Capt), Show Boat. Has per-formed regionally at Sacramento Music Circus, Goodspeed, TUTS & KC Starlight. Commercials: “NBC

WHO’S WHO in the CAST

EVIT

A WHO’S WHO in the CAST

Ford/Smash.” Love to Dad, Mom and Benji for their endless support!

MEGAN ORT (Ensemble ) . Touring debut! Previous credits: The Music Man (Zaneeta Shinn) and Annie Get Your Gun (Dolly Tate cover) at The Glimmerglass Festival; Legally Blonde (Elle Woods), Gianni Schicchi (Lauretta), Coram Boy (Young Alexander/Aaron). Proud and recent gradu-ate of Ithaca College, B.F.A. Musical Theatre. Infinite thanks to Telsey+Co, Kristen Blodgette, Marc Webster, the HD, the GG, and espe-cially Mom, Dad and Caitlin!

JOHN RIDDLE (Ensemble). Touring debut! Regional: The Little Mermaid (Prince Eric), Titanic, Legally Blonde and oth-ers at MUNY, Pittsburgh CLO, Flat Rock Playhouse. Favorites: Into the Woods (Cinderella’s Prince), Oklahoma! (Curly), An American in Paris with the Cincinnati Pops. TV/Film: “One Life to Live.” CCM grad. Many thanks to Telsey & Co. and the CGF boys. Endless love to the fam and the Neens! @jclayrids

MORGAN ROSE (Swing). Favorite credits: Shrek the Musical (first national), Dear Edwina (Off B’way), A Chorus Line (MSMT), George M! (TBTS), Funny Girl (Westchester). B.F.A. MT FSU! Enormous thanks to my descamisados, Chris, Seth, Kristen, Craig/Telsey, Kate, Al, Ricky, Tim, Steven, Rach, Amanda, Jonathan, Raumakers, MNM and MSA! Her work is inspired by her parents and dedicated to the memory of her brother, Dustin.

JEFFREY C. SOUSA (Ensemble). From Waterbury, Ct, Jeffrey is thrilled to be sharing the story of Evita. Credits: (National Tour) West Side Story: Bolo, u/s Bernardo. (Dance Companies) Armitage Gone! Dance, Pennsylvania Ballet, Life Dance Company—UArts Alum Class of 2010—many thanks to

MSA Agency & love to my family and friends! @JeffreyCSousa

TUG WATSON (Swing) is thrilled to be a part of this production. Previous credits include the national tours of Young Frankenstein (Swing), Cats (Munkustrap) and Annie (Ensemble). Tug has also per-formed at Casa Mañana, Merry-Go-Round Playhouse, Syracuse Stage and Light Opera Works in Chicago. A proud member of AEA, a gradu-ate of Syracuse University, and son of Drew and Becky, he hopes you enjoy the show!

THE REALLY USEFUL GROUP (RUG) (Licensor) has produced, co-produced or licensed through-out the world Aspects of Love, The Beautiful Game, Bombay Dreams, By Jeeves, Cats, Daisy Pulls It Off, Evita, The Hired Man, Jeeves Takes Charge, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, La Bête, Lend Me a Tenor, Love Never Dies, The Music of Andrew Lloyd Webber, On Your Toes, The Phantom of the Opera, Shirley Valentine, The Sound of Music, Song & Dance, Starlight Express, Sunset Boulevard, Tell Me on a Sunday, Whistle Down the Wind, The Wizard of Oz and The Woman in White. RUG is wholly owned by Andrew Lloyd Webber.

TIM RICE (Book/Lyrics) got the idea for Evita driving to a dinner in London in 1973, hearing part of a radio program about her remark-able life. He remembered her from his schoolboy stamp collection, and after further research realized her fantastic story might be the musical to prove that he and Andrew Lloyd Webber were not one-hit wonders. His first new stage musical in thirteen years, From Here to Eternity, based on James Jones’ 1951 masterpiece novel—music by Stuart Brayson, opens (or has opened, depend-ing on when you’re reading this) in the West End in October 2013. www.timrice.co.uk

ANDREW LLOYD WEBBER (Music and Orchestrations) is best known as a composer. His musicals include The Phantom of the Opera, Evita, Cats, Sunset Boulevard and Jesus Christ Superstar. His recent producer credits include A.R. Rahman’s Bombay Dreams, The Sound of Music and The Wizard of Oz. He pioneered casting for musical theatre on TV with the International Emmy award-winning “How Do You Solve A Problem Like Maria?” His awards include an Oscar, seven Tonys, three Grammys, two International Emmys, seven Olivier Awards and the Kennedy Center Honor. His latest work is based on the life of Dr. Stephen Ward. He was knighted in 1992 and created an hon-orary life peer in 1997.

M I C H A E L G R A N D A G E (Director) is Artistic Director of the Michael Grandage Company in London. He was Artistic Director of the Donmar Warehouse (2002–2012) and Sheffield Theatres (2000–2005). He is the recipient of Tony, Drama Desk, Olivier, Evening Standard and Critics’ Circle Awards. Work includes: The Cripple of Inishmaan with Daniel Radcliffe, Peter and Alice with Judi Dench and Ben Whishaw, 25 productions for the Donmar Warehouse including Red (UK & NYC), Hamlet with Jude Law (UK & NYC), Frost/Nixon (UK & U.S.). Michael is President of the Royal Central School of Speech and Drama and was appointed CBE in the Queen’s Birthday Honours 2011.

ROB ASHFORD (Choreographer). Broadway—Director/Choreographer: How To Succeed (Tony nomina-tions, Direction and Choreography); Promises, Promises (Tony nomina-tion, Choreography); Choreographer: Thoroughly Modern Millie (Tony Award, Best Choreography), Evita (Tony nomination), The Wedding Singer (Tony nomination), Cry-Baby (Tony nomination), Curtains (Tony nomination); Director: Cat On A Hot Tin Roof. London—Director:

EVIT

A

Anna Christie (Donmar; Olivier Award), A Streetcar Named Desire (Donmar; Olivier nomination), Macbeth at Manchester International Festival; Director/Choreographer: Parade (Donmar; Olivier nomina-tions, Direction and Choreography); Choreographer: Evita (Olivier nomi-nation), Guys and Dolls (Olivier nomination), Thoroughly Modern Millie (Olivier nomination), Forum (National Theatre). Other: “The 81st Annual Academy Awards” (Emmy Award, Choreography).

SETH SKLAR-HEYN (Tour Direc tor ) . Broadway: The Phantom of the Opera (Production Supervisor), Evita (Associate Director), A Little Night Music (Associate Director), Finian’s Rainbow (Associate Director), Good Vibrations (Associate Director), Mary Stuart (Assistant Director), Rock’n’Roll (Assistant Director), Frost/Nixon (Assistant Director), The Coast of Utopia (Assistant to the Director). Off-Broadway/Encores!: Cotton Club Parade (Assistant Director). U.S. National Tour: Billy Elliot (Resident Director). Previously for Michael Grandage, Seth directed the U.S. National Tour of Frost/Nixon in 2009, starring Stacy Keach and Alan Cox. Seth serves as Executive Producer for Cameron Mackintosh Inc. in N.Y. Graduate of Vassar College.

C H R I S B A I L E Y ( T o u r C h o r e o g r a p h e r ) . C h o r e o g r a p h y — 2 0 1 3 C B S Tony Awards opening number. Movement Director—Cyrano De Bergerac, Roundabout Theatre company. Tours as Choreographer: Shrek (US), The Wedding Singer (US), Guys and Dolls (UK, Australia), Thoroughly Modern Millie (UK). Associate choreog-raphy—2013 Academy Awards. Broadway: Evita; How to Succeed in Business Without Really Trying; Promises, Promises; Cry-Baby. West End: Guys and Dolls, Evita,

Once in a Lifetime, Candide (also Paris). Film: Beyond the Sea.

JENNIE FORD (Associate Choreography). Choreography cred-its range from Opera to Broadway; working closely with numerous Tony Award-winning choreographers. Performing credits: 7 Broadway musicals and 4 albums. She has been hired as “teacher to the stars” such as Nick Jonas, Darren Criss, Beau Bridges, George Wendt, Ronn Moss, Jerry Mathers. Author of a new “how-to” book series for Broadway. www.BeTheBestOnBroadway.com

CHRISTOPHER ORAM (Set and Costume Design) is the recipient of Tony, Oliver, Evening Standard, Critics’ Circle, Garland and Ovation Awards for his work both here in the U.S. and in the UK. Currently the set and costume designer for the Michael Grandage Company season at the Noel Coward Theatre in the West End.

NEIL AUSTIN (Lighting Design). Recipient of the 2010 Tony Award and Drama Desk Award for Red at the Golden Theatre and the 2011 Laurence Olivier Award for The White Guard at the National Theatre, London. Other Broadway credits include A Cat on a Hot Tin Roof (Rodgers), Evita (Marquis), Hamlet (Broadhurst), The Seafarer (Booth), Frost/ Nixon (Jacobs). He has designed over 200 produc-tions including many in the UK for the National Theatre, Donmar Warehouse, Royal Opera House, Royal Shakespeare Company and in the West End.

MICK POTTER (Sound Design) has designed numerous world pre-miere, West End and Broadway musicals. Recent sound designs include Miss Saigon, Saturday Night Fever, Bombay Dreams, Zorro, The Woman in White, Whistle Down the Wind, Evita, Joseph…, Love Never Dies, The Sound of Music, Sister

Act, The Wizard of Oz, Betty Blue Eyes, The Phantom of the Opera and Les Misérables. Awards include an Olivier for The Woman in White London and Parnelli Award for Phantom of the Opera Las Vegas.

RICHARD MAWBEY (Wig and Hair Design) owns London’s Wig Specialities. Theatre: La Cage aux Folles, Priscilla Queen of the Desert, Frost/Nixon, Hairspray, South Pacific, Legally Blonde, Passion, End of the Rainbow, White Christmas, Piaf, Sweet Charity, Evita, Guys and Dolls, The Producers, Thoroughly Modern Millie, Merrily We Roll Along, the Donmar West End sea-son. Television: “Little Britain,” “Poirot.” Film: The Ghost Writer, Titanic, Star Wars, Dumbledore in Harry Potter. Personal wigmaker to Sean Connery, Dame Edna, Kylie Minogue, Madonna.

Z A C H A R Y B O R O V A Y (Projection Design) . Recent Broadway credits include No Man’s Land, Waiting For Godot, Evita, Elf, Lombardi (Drama Desk nom.), Rock of Ages (London, national tour, Las Vegas, etc.), A Catered Affair (Drama Desk nom.), Xanadu (national tour, Japan). Additional selected credits include Chaplin (La Jolla Playhouse), Peepshow (Planet Hollywood Casino, Las Vegas), The Radio City Christmas Spectacular and Voyage de la Vie (RWI, Sentosa, Singapore). Zachary is on the board of trustees of United Scenic Artists Local 829. borovay.com

TELSEY + COMPANY (Casting). If/Then, The Bridges of Madison County, First Date, Motown, Kinky Boots, Annie, Newsies, Spider-Man Turn Off the Dark, Rock of Ages, Wicked, Porgy and Bess, Priscilla Queen of the Desert, Sister Act, Million Dollar Quartet. Off-Broadway: Little Miss Sunshine (2nd Stage), Atlantic, MCC, Signature. Regional: La Jolla, Paper


EVIT

A

Mill. Film: The Last Five Years, The Odd Life of Timothy Green, Friends with Kids, Joyful Noise, Margin Call, Sex and the City 1 & 2, I Love You Phillip Morris, Rachel Getting Married, Dan in Real Life, Across the Universe. TV: “Smash,” “The Big C,” commercials. www.telseyandco.com

JASON GOLDSBERRY (Makeup Design) is proud to make his Broadway design debut with this astounding show and amazing cre-ative team! Many thanks to family and friends for undying support, especially my sweetheart Bryan and my CC. This one’s for Amy!

D A V I D C U L L E N (Co-Orchestrator) studied compo-sition with Howard Ferguson and Richard Rodney Bennett at the Royal Academy of Music in the 1960s. He is best known as an orchestra-tor of musicals, particularly those of Andrew Lloyd Webber – Cats, Starlight Express, Song and Dance, Aspects of Love, Sunset Boulevard, By Jeeves, Whistle Down the Wind, The Beautiful Game, The Phantom of the Opera, The Woman in White, Love Never Dies and most recently The Wizard of Oz.

K R I S T E N B L O D G E T T E (Music Supervisor). Credits: Evita with Ricky Martin (Broadway), The Phantom of the Opera (Broadway, North American com-panies, Stuttgart, Hamburg, Basel, Antwerp, Copenhagen, Mexico City, Madrid, Buenos Aires); Cats (Broadway, national tours, Hamburg, Copenhagen); Sunset Boulevard; Jesus Christ Superstar; The Woman in White; Mary Poppins; LoveMusik; Chitty Chitty Bang Bang; Annie Get Your Gun with Deborah Voigt (Glimmerglass); Bounce directed by Harold Prince (Goodman, Kennedy Center); tours of On Your Toes, Jerry’s Girls, Barnum; and rehearsal pianist for Carrie with Betty Buckley.

WILLIAM WALDROP (Associate Music Supervisor/Music Director/Conductor). Broadway: Rodgers & Hammerstein’s Cinderella, Evita. National tours: The Phantom of The Opera, Cats. Off-Broadway: Donnybrook!, A Tree Grows In Brooklyn. Las Vegas: Phantom—The Las Vegas Spectacular, Hedwig and The Angry Inch. As a com-poser, William’s songs (with lyri-cist Robert Williamson) have been heard in cabarets and theatres across the country. In New York City: Birdland, The Laurie Beechman Theatre, The Duplex, New World Stages. William is a proud gradu-ate of The Peabody Conservatory of Music (M.M.) and The University of Mississippi (B.M.). Love to Mom and Dad!

D A V I D C H A S E ( D a n c e Arrangements) is thrilled to once again be part of the Grandage and Ashford team. West End (dance arranger): Evita, Guys and Dolls. Current Broadway: music supervisor/arranger/adapter for Cinderella, music director/arranger: How to Succeed…; dance arranger: Anything Goes; music supervisor/arranger: Nice Work If You Can Get It. Music education: Harvard Biology degree.

TIMOTHY R. MACKABEE (Associate Set Design). Broadway: Mike Tyson: Undisputed Truth (directed by Spike Lee). Lincoln Center Theatre, Public Theater. Regional: Dallas Theatre Center, Portland Center Stage, Syracuse Stage, Yale Rep, Paper Mill Playhouse, Asolo Rep, Studio Theatre. TV: “Smash,” “The Today Show.” E duca t i on : North Carolina School of the Arts, Yale School of Drama. timothymackabeedesign.com

AMANDA SEYMOUR (Associate Costume Designer). Recent cred-its: Paul’s Case, Urban Arias; Exile, Lawnpeople at the Cherry Lane Theatre; Don Pasquale, Armide at the Juilliard School; Bumbug the

Muscial, The Clurman: Theatre Row; The Sound of Music, Paper Mill Playhouse; The Family Room, Arclight Theatre; Lydia, Yale Repertory Theatre. Broadway assis-tant credits: Chaplin the Musical; Nice Work If You Can Get It; Present Laughter.

KRISTINA KLOSS (Associate L igh t ing Des igner ) . Ev i ta (Broadway), Billy Elliot (Broadway, first national, second national), Mary Poppins (Broadway, first national). Broadway: First Date, August Osage County , Faith Healer, Chitty Chitty Bang Bang, Glass Menagerie, Urban Cowboy. Metropolitan Opera House, Radio City Christmas Spectacular . Member of United Scenic Artists 829. For Pumpkin.

TONY SMOLENSKI (Associate Sound).

DRISCOLL OTTO (Associate Projection Design). Recently: Lighting Design Rock of Ages (Norwegian Cruise Line), Lighting/Projections Antony & Cleopatra (Houston Shakespeare Festival). Regional: Dallas Theatre Center, The Hangar Theater, Flatrock Playhouse, Reprise Theatre Company, Houston Shakespeare Festival, Shakespeare Dallas, Utah Festival Opera, and Trinity Rep. Associate designer (Broadway): Evita, Elf, Ann, Rock of Ages, After Miss Julie and Race.

JENNY PENDERGRAFT (Wig & Hair Supervisor) is a NYC based hair dresser. Broadway credits include: Evita, Wicked, Bye Bye Birdie and The Little Mermaid. Thanks to Eddie for opening my eyes to this world, to Patrick for supporting me in every new adventure and to my Angels for guiding me!

DAVID LAI (Music Coordinator). Broad way: Mary Poppins, Bonnie & Clyde, Wonderland, South Pacific, The Woman in White, Jesus Christ Superstar, Riverdance. Broadway


EVIT

A

conductor: Miss Saigon and The Phantom of the Opera for last 15 years. Producer: West Side Story (Grammy), Promises, Promises and South Pacific (Grammy noms.).

T A L I T H A F E H R ( M u s i c Coordinator). National tours: Sister Act, Catch Me If You Can, West Side Story, Priscilla Queen of the Desert, Wizard of Oz, Come Fly Away, Mamma Mia!, A Christmas Story, Fiddler on the Roof, Jesus Christ Superstar, Cats, Chicago, Chitty Chitty Bang Bang, Chita Rivera A Dancer’s Life, Movin’Out, and 101 Dalmatians. International/Asian tours: West Side Story, Sound of Music, Swing!, Cinderella, and The King and I. Broadway: A Christmas Story, The Pirate Queen, pre-production and development of Twyla Tharp’s Come Fly Away, the 2012 Toronto launch of Wizard of Oz, and the 2010 Vancouver Winter Olympics Opening and Closing Ceremonies.

STUART ANDREWS (Synthesizer Programmer). Broadway and West End: Mary Poppins, The Phantom of the Opera, Les Misérables, The Woman in White, Jesus Christ Superstar. West End: The Wizard of Oz, Betty Blue Eyes, Love Never Dies, Oliver!, Evita, The Sound of Music.

BONNIE PANSON (Production Stage Manager). Broadway: 26 productions including Bring It On, Spider-Man, Chicago, Dance of the Vampires, Private Lives, Blast, Seussical, Civil War, On the Town, Bring in ‘da Noise/Funk, Starlight Express, The Odd Couple, Pirates of Penzance. Tours: Bring It On and multiple versions of The Music of Andrew Lloyd Webber. St. Louis Muny: South Pacific. Off-Broadway: The Last Five Years, A New Brain. Proud mom of her college kid, Jenny Spicola.

MICHAEL RICO COHEN (Stage Manager). Broadway/tours: Chaplin, American Idiot,

Billy Elliot, Bonnie & Clyde. Off-Broadway/regional: Signature Theatre Company, Williamstown Theatre Festival, Berkshire Theatre Festival. Workshops: Mozart l’Opera Rock, Up Here. Love to Mom, Dad and the family. Carnegie Mellon University. Proud AEA member.

TREY JOHNSON (Assistant Stage Manager) is excited to be a part of the Evita family. His credits include: Broadway: A Streetcar Named Desire; Off-Broadway: The Last Five Years, Fun Home, The Broken Heart; multiple workshops and readings. Northern Arizona Grad. Proud Member AEA. Love to his family and friends for their constant support.

MB PRODUCTIONS (Technical Supervisor). Recent projects include Spider-Man: Turn Off The Dark (Broadway), Jekyll & Hyde (Broadway), Priscilla: Queen Of The Desert (national tour), Chitty Chitty Bang Bang! (national tour), Yo Gabba Gabba Live (tour). MB Productions is comprised of Production Managers Mike Bauder, Andrew Deichman and Jeremy Lane.

RYAN P. MURPHY (Production Coordinator) is currently in his seventh season as Production C o o r d i n a t o r w i t h T r o i k a Entertainment, having worked on over 30 national and international tours with a wide range of amaz-ing artists. Prior to joining Troika, Ryan served as the Production Supervisor and Executive Producer for The Rainbow Cubs, oversee-ing the creation, development, and operation of a children’s entertain-ment company in Niagara Falls, N.Y. Originally from Buffalo, N.Y, Ryan holds a B.F.A. from Niagara University and an M.A. from The University of Rochester. Ryan would also like to thank his fam-ily, friends and most importantly his partner Joe, for all their love and support.

JOE CHRISTOPHER (General Manager) presented and pro-duced over 65 productions and special events as the Associate General Manager and Coordinator of Theater Programming at The Kennedy Center in Washington, DC. His favorite Kennedy Center credits include the Tony Award-nominated Broadway revivals of Follies and Ragtime, four seasons of Barbara Cook’s Spotlight Series, critically acclaimed festivals cele-brating the works of August Wilson & Terrence McNally, Master Class starring Tyne Daly, Thurgood starring Laurence Fishburne and numerous other special events. National Tours: Sister Act, Shear Madness, Evita, Joseph And The Amazing Technicolor Dreamcoat and Andrew Lloyd Webber’s new production of The Wizard of Oz.

HAL LUFTIG (Producer). Winner of four Tony Awards and London’s Olivier Award, Hal Luftig has worked on and off-Broadway for the past 25 years. Broadway: Kinky Boots, Evita, Catch Me If You Can, Come Fly Away, West Side Story, All My Sons, Legally Blonde, The Times They Are A-Changin’, Whoopi, Movin’ Out, Thoroughly Modern Millie, Annie Get Your Gun, High Society, The Diary of Anne Frank, The King and I, Moon Over Buffalo, Angels in America, Jelly’s Last Jam, The Secret Garden. He is currently developing The Last Goodbye, with the music of Jeff Buckley. Hal has an M.F.A. from Columbia University, and an ulcer from tension.

TROIKA ENTERTAINMENT (Producer) has been the innovator in touring musical theater produc-tions for over two decades, pro-ducing shows throughout North, Central, and South America, Europe and Asia. Additionally, the com-pany is experienced in casino and leisure markets having produced for the Wynn, Caesars, Grand Casino, Hilton, Eldorado and Harrah’s. Current and upcoming produc-tions include Annie, Bring It On:


EVIT

AThe Musical, Evita, Ghost, Joseph and the Amazing Technicolor Dreamcoat, Priscilla Queen of the Desert, Sister Act and West Side Story. With strong ties to the Broadway community, Troika prides itself on delivering top quality pro-ductions to audiences worldwide. Please visit us at www.troika.com.

RANDALL A. BUCK (Producer) has produced more than 50 produc-tions across the globe for Troika Entertainment. Before joining Troika in 1999, Mr. Buck was Vice President and General Manager for Livent in Toronto. Mr. Buck was a stage manager for more than 20 years, surviving a year with Mary Martin and Carol Channing in Jimmy Kirkwood’s Legends!, a year in Japan with Siegfried & Roy, opening The Phantom of the Opera Music Box Company and opening Show Boat on Broadway. When not on the road Randy can be found in the Washington, D.C. area with his wife, Angela, and their daughter Sierra Ashley Buck.

JAMES L. NEDERLANDER ( P r o d u c e r ) . P r e s i d e n t o f Nederlander Organization and son of James M. Nederlander (Chairman). Mr. Nederlander is currently represented on Broadway with Priscilla, Spider-Man. Other credits include West Side Story, Next to Normal, 25th Annual Putnam County Spelling Bee, Who’s Afraid of Virginia Woolf?, Movin’ Out, The Tragedy of Carmen (recipient of a special Tony Award).

TERRY ALLEN KRAMER (Producer). Credits (partial list-ing): Sugar Babies; Me and My Girl: The Goat… (Tony Award); Movin’ Out (Tony Award); Who’s Afraid of Virginia Woolf?; Cyrano; West Side Story; 9 to 5; The Addams Family; The Merchant of Venice; Race; Promises, Promises; Spider-Man Turn of the Dark; Priscilla Queen of the Desert; Mike Tyson: The Undisputed Truth; Kinky Boots

(Tony Award); and I’ll Eat You Last.

A N T H O N Y N I C H O L S O N (Producer). Director of Foundation Board of University of Central Florida. Broadway: Evita with Ricky Martin, The Best Man with James Earl Jones, Porgy and Bess, Matilda and Cinderella.

TOM & CONNIE WALSH (Producers). Broadway: Kinky Boots (Tony winner), First Date. Long-time supporters of the non-profit performing arts in Seattle. Board members of the 5th Avenue Theatre and the Pacific Northwest Ballet.

ROY FURMAN (Producer). Currently on Broadway: The Book of Mormon (Tony Award), Cinderella, Annie, Big Fish and After Midnight. Later this season: Bullets Over Broadway the Musical, Betrayal and Rocky. Previous productions include: Lucky Guy, War Horse (Tony), West Side Story, The History Boys (Tony), Gypsy, Spamalot (Tony), The Color Purple and Fosse (Tony).

Y A S U H I R O K A W A N A (Producer). Broadway: First Date; Let It Be; Kinky Boots (Tony Award); Evita; Catch Me If You Can; Come Fly Away; Legally Blonde. He has co-presented Rain: A Tribute To The Beatles; The Full Monty; Fosse; in Japan and Japanese local productions of Promises, Promises; Side Show; Grease; All Shook Up; Brooklyn; Titanic; Sweet Charity; The Producers; The Boy From Oz; Never Gonna Dance.

ALLAN S. GORDON/ADAM S. GORDON (Producers). Allan has received Tony Awards for Rent, Death of a Salesman, Hairspray and Spamalot. Allan’s career spans the fields of theatre, law, invest-ment banking, real estate and ven-ture capital. Together, Allan and Adam’s credits include The Pee-wee Herman Show, Peter and the

Starcatcher, and Tony Awards in 2013 for Kinky Boots and Pippin.

R A I N B O W T O U R PRODUCTIONS (Producer). The Broadway Consortium (Van Dean & Kenny Howard): 8 Broadway shows, 1 Tony Award, 4 Tony nominations, 18 albums. Thanks BMiller, BroadwayConsortium.com and BroadwayRecords.com; Wendy Federman: 2 Tony Awards, 13 Tony Nominations, 25 Broadway shows; Carl Moellenberg: 5 Tony Awards, 26 Broadway productions, 5 national tours.

MICHAEL J. MORITZ, JR. (Producer). Broadway producer, record producer, music director, entertainment entrepreneur from Youngstown, Ohio. Broadway pro-ducing credits include Big Fish, One Night With Janis Joplin, Beautiful: The Carole King Story. Album producing credits include Norbert Leo Butz (Memory and Mayhem), Aaron Tveit (Radio In My Head). michaelmoritz.com

PITTSBURGH CLO (Producer). Under the direction of Van Kaplan this not-for-profit arts organization appreciates the support of nearly 200,000 patrons each year and pro-duces a subscription series, edu-cational programs, national tours, develops and invests in new works, including 18 Broadway shows (24 Tony Awards) and is a founder of The National High School Musical Theater Awards (PBS). www.pittsburghCLO.org

JOHN and DIANE CHACHAS (Producer). John is the Managing Partner of Methuselah Advisors and a Board Member of Gump’s San Francisco & PrePlay Sports. Diane is a Board Member of Parents in Action. Broadway: Kinky Boots; Tour: Evita.

J U S T F O R L A U G H S THEATRICALS (Producer). CEO Adam Blanshay, Chairman


EVIT

A

DENVER CENTER ATTRACTIONS STAFFD. Randall Weeks . . . . . . . . . . . . Executive Director/President

Jeff Hovorka . . . . . . . . . . . . Director of Media and Marketing

John Ekeberg . . . . . . . Director of Programming & Operations

Heidi Bosk . . . . . . . . . . . . . . . . . . .PR & Promotions Manager

Alicia Giersch . . . . . . . . . . . . . . . . . . . . . . . . Business Manager

Emily Lozow . . . . . . . . . . . . . . . . . . . . Marketing Coordinator

DCPA MARKETING STAFFJennifer Nealson . . . . . . . . . . . . . . . . Chief Marketing Officer

Sylvie Drake . . . . . . . . . . . . . . . . . . . . Director of Publications

Brianna Firestone . . . . . . . . . . . .Director of Marketing, DCTC

Janet Flesch Director of Marketing, DCPA

Suzanne Yoe . . . . . . . . . . . . . .Director of Marketing Services

Nick Brown . . . . . . . . . . . . . . . . . . . . . Account Sales Manager

Nathan Brunetti . . . . . . . . . . . . . . . . . . . . . . . . . Email Designer

Kim Conner . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic Designer

FloraJane DiRienzo . . . . . . . . . . . . Business Relations Manager

Anita Edwards . . . . . . . . . . . . . . . . . . . . Web Services Manager

Brenda Elliott . . . . . . . . . . . . . . . . . . .Senior Graphic Designer

Simone Gordon . . . . . . . . . . . . . . . . . . . Marketing Coordinator

Alexandra Griesmer . . . . . PR & Promotions Manager, DCTC

Tristan Jungferman . . . . . . . . . . . . . . . . . . Box Office Manager

Jennifer Kemps . . . . . . . . . Groups Sales Business Coordinator

Carol Krueger . . . . . . . . . . . . . . . . . .Theatre Services Manager

Jennifer Lopez . .Assoc. Director of Ticket Services/Operations

Kyle Malone . . . . . . . . . . . . . . . . . . . .Senior Graphic Designer

Jane McDonald . . . . . . . . . . . . .Marketing Coordinator, DCTC

John Moore . . . . . . . . . . . .Assoc. Director of Content Strategy

Ken Mostek . . . . . . . . . . . . . . . Videographer/Cinematographer

Mark Onderdonk . . . . . . . . . . . . . . . . . . . . . . Business Manager

Kirk Petersen . . Assoc. Director of Ticket Services/Patron Relations

Adam Quinney . . . . . . . . . . . . . . . . . . . . . Box Office Manager

Tina Risch . . . . . . . . . . . . . . . . . Community Services Manager

Anthoney Sandoval . . . . . . . . . . . . . . . . . . Box Office Manager

Jill Schwager . . . . Student Matinee and Group Tours Associate

David Smith . . . . . . . Assoc. Director of Subscription Services

INFORMATION SERVICESBruce Montgomery . . . . . . . . . Director of Information Services

Jim Hipp . . . . . . . . . Associate Director of Information Services

Bobby Jiminez . . . . . . . . . . . . Senior Audience View Specialist

DEVELOPMENT DEPARTMENTDorothy Denny . . . . . . . . . . . . . . . . . . Executive Vice President

Tiffany Grady . . . . . . . . . . . . . . . . . . . . . . . Associate Director

Linda Mitchell . . . . . . . . . . . . . . . . . . . . . . . Associate Director

David Zupancic . . . . . . . . . . . . . . . . . . . . . . Associate Director

Jeremy P. Anderson . . . . . . . . . . . . . . . . . . . Associate Director

Mary Mosher . . . . . Manager, Membership Groups/Major Gifts

Megan Fevurly . . . . . . . . . . . . . . . . . . . . . . . Business Manager

The Denver Center for the Performing Arts

THE BUELL THEATRE is part of the Denver Performing Arts

Complex, owned and operated by the City and County of Denver, Arts and Venues.

CITY & COUNTY OF DENVER

Michael Hancock, Mayor

ARTS AND VENUES

Kent Rice, Director

For information call:

720.865.4220

Denver Center Attractions gratefully acknowledges the following support

in its 2013/14 season

Gilbert Rozon. Subsidiary of Just for Laughs. Broadway: Bullets Over Broadway, Twelfth Night/Richard III, Kinky Boots. London: I Can’t Sing—The X Factor Musical, A Chorus Line (London Palladium), Chimerica, Merrily We Roll Along, Old Times (Harold Pinter Theatre), The Ladykillers (Vaudeville), Abigail’s Party (UK tour). Thanks to Hal. www.hahaha.com

G L A S S H A L F F U L L PRODUCTIONS (Producer). Managing members : Adam Blanshay and Gareth Lake. Broadway: Twelfth Night/Richard III . London: I Can’t Sing—The X Factor Musical (London Palladium). UK Tour: Shrek The Musical. Thanks to Hal. www.ghfproductions.co.uk

RICARDO HORNOS (Producer). Broadway: Evita, The Heiress, Cinderella, The Trip to Bountiful, Big Fish. Buenos Aires: Spanish-speaking versions of Young Frankenstein, A Steady Rain, The Norman Conquests, Good People (all in association with Pablo Kompel). Film (in development): Omelette Surprise, Fernando in Arizona, Yankee Doodle Day. Board: Symphony Space.

S C O T T S A N D E R S PRODUCTIONS (Producer). Scott Sanders is an Emmy and Tony Award-winning theatre, film and television producer. Broadway: The Color Purple, with partner Oprah Winfrey; The Pee-wee Herman Show (Broadway and Los Angeles); Evita starring Ricky Martin. Additional Broadway: Elaine Stritch: At Liberty and upcoming—After Midnight, the new jazz musical created with Wynton Marsalis. Other musicals in devel-opment: Coal Miner’s Daughter, starring Zooey Deschanel as Loretta Lynn and Houdini, with a score by Stephen Schwartz, directed by Jack O’Brien and starring Hugh Jackman. In 2012 Sony Pictures Entertainment partnered with the

company to adapt and develop stage musicals from SPE’s film library.

CAROL FINEMAN (Producer). Broadway: Evita, The Pee-wee Herman Show. Worth Street: Christopher Shinn’s Four, The Normal Heart, Drama Desk for The Stage Door Canteen. Headed press at the Public for 11 years. Highlight credits there (downtown and Broadway): The Tempest, Noise/Funk, Elaine Stritch: At Liberty, The Seagull w/Meryl Streep. Currently, Producer & VP/Theatre, Scott Sanders Productions.

BRIAN SMITH (Producer). Broadway: Kinky Boots (Tony Award), Evita, Catch Me If You Can. NYC: The Harmonious Pimps of Harmony… , Camp Wanatachi, Yes We Can, PINK!. Artistic Director, Down Payment Productions. 2010 NY Innovative Theatre Award, Outstanding Director.

WARREN TREPP (Producer). Broadway: Kinky Boots, Evita, Legally Blonde, Movin’ Out and Thoroughly Modern Millie. His proudest production is his son Warren Edward, a credit he shares with his wife, Jâlé.

EVIT

A

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

United Scenic Artists represents the designers and sce-nic painters for the American Theatre.

The Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

The actors and stage managers employed in this pro-duction are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

This production is produced by members of The Broadway League in collaboration with our professional union-represented employees.

GENERAL MANAGEMENTJoe Christopher

Associate General Manager ...............Abram Best

COMPANY MANAGERSusan Brumley

Assistant Company Manager .............. Jason Haft

PRESS/MARKETING REPRESENTATIVEANITA DLONIAK & ASSOCIATES, INC

Anita Dloniak Diane L. Rodes Melissa A. Hazek

CASTINGTELSEY + COMPANY

Bernie Telsey CSA, Will Cantler CSA, David Vaccari CSA, Bethany Knox CSA,

Craig Burns CSA, Tiffany Little Canfield CSA, Rachel Hoffman CSA, Justin Huff CSA,

Patrick Goodwin CSA, Abbie Brady-Dalton CSA,David Morris, Cesar A. Rocha CSA,

Andrew Femenella CSA, Karyn Casl CSA, Kristina Bramhall, Conrad Woolfe,

Amelia Nadler, Rachel Minow

EXCLUSIVE TOUR BOOKINGTHE ROAD COMPANY

165 West 46th Street, Suite 1101 New York, NY 10036 202.302.5200 voice 202.302.5374 fax

www.theroadcompany.com

TECHNICAL SUPERVISIONMB Productions

Mike BauderAndrew Deichman, Jeremy Lane, Victoria Mayo, J. Michael Stafford

PRODUCTION STAGE MANAGER ...............................Bonnie PansonStage Manager ....................Michael Rico CohenAssistant Stage Manager ...............Trey JohnsonTour Director ............................ Seth Sklar-HeynTour Choreographer ........................ Chris BaileyAssociate Choreographer .................Jennie FordAssociate Music Supervisor ....... William WaldropDance Captain .................................. Ian LibertoAssistant Dance Captain ............... Robin MasellaAssociate Scenic Designer .....Timothy MackabeeBroadway Associate Scenic Designer ....................... Bryan JohnsonUK Associate Scenic Designer ....David Woohead,

Richard KentUK Assistant Scenic Designer........... Lee Newby,

Andrew Riley, Simon Anthony WellsRenderer ......................................... Ann BartekProduction Properties ....................Andrew MillerAssociate Costume Designer ...Amanda SeymourAssistant Costume Designer .......... Ryan DodsonAssociate Lighting Designer ...........Kristina KlossBroadway Associate Lighting Designer Dan WalkerAssistant Lighting Designer ......Weston WilkersonLighting Programmer ...................... Rob HallidayProduction Electrician ..............Jeff “Swing” HoltzAssociate Sound Designer ......... Tony SmolenskiUK Associate Sound Designer .....Paul GatehouseProduction Sound ..........Colle Bustin, Dillon CodyAssociate Projection Designer ..... Driscoll A. OttoProduction Hair and Wigs ........Jenny Pendergraft

HEAD CARPENTER ..........................NOAH KERNAssistant Carpenter ..........................Seth LarkinAssistant Carpenter ................ Joshua TownsendHead Electrician ..........................Stephen AtwellAssistant Electrician ................... Jeremy BolnickAssistant Electrician .......................Eric JohnsonAssistant Electrician ...........Christopher K. NimmHead of Props ....................... Jennifer A. KramerHead of Sound .....................Maxine R. GutierrezAssistant Sound Engineer ......... Nathan MeredithHead of Wardrobe ....................... Season SauletAssistant Wardrobe ................... Kasey WalravenStar Dresser ................................. Ryan DodsonHead of Hair and Wigs ............... Sonya ReynoldsAssistant Hair and Wigs .................... Tony Lauro

Production Associate ..................... Joe CameronProduction Assistants .............Mitchell Anderson,

Zachary GrayAssociate to Mr. Luftig ...................Scott SinclairAssistant to Mr. Sanders .................Jamie QuirozPhysical Therapy ............................. NeuroToursMedical Director ................. Thomas Meyers, MDAccountant ......................Zwick & Banyai, PLLC.Insurance ...............Maury Donnelly and Parr, Inc.Payroll ....................................... SCI CompaniesLegal Counsel ......S. Jean Ward, ESQ. & Franklin,

Weinrib, Rudell & Vassallo, P.C.Production Photographer ...........Richard TermineAdvertising .......................Spotco/Drew Hodges,

Josh Fraenkel, Callie GoffWebsite & Online Marketing ...................SpotCo/

Sara Fitzpatrick, Marc Mettler, Michael Crowley, Meghan Ownbey

Accountant ................. Robert Fried CPA/Fried & Kowgios CPAS LLP

GM Consultant . Amy Jacobs, Bespoke TheatricalsImmigration Counsel ........ Kramer Levin Naftalis &

Frankel, LLPVisa Consultant ................................... Lisa CarrMerchandising .....Broadway Merchandising, LLC/

Adam S. Gordon, David Eck

FOR TROIKA ENTERTAINMENT Chief Executive Officer ................Randall A. BuckChief Operating Officer .............Michael J. OrsinoChief Financial Officer ..................... Donald KindlAssociate Producer ..........................Jaime PrineGeneral Managers ..................... Joe Christopher

Townsend TeagueAssistant General Managers ............ Abram Best,

Brian Schrader Production Coordinator ...............Ryan P. MurphyMarketing Manager ..................... Courtney DavisMarketing Consultant ...........................Amy KatzBooking Associate ....................... Doria MontfortBudgeting & Forecasting Manager George LambertyController ...................................Ryan RudzinskiStaff Accountant .......................Lourdes CastilloAccounting Clerk ....................... Marite EspinozaOffice Manager ........................... Doria MontfortWarehouse Manager ...................... Scott Garrish

FOR TROIKA COSTUMES Costume Director .................... Michelle HarrisonProject Assistants .. Alison Smith, Kristina LamdinWork Room Manager .......................Helen JonesLead Stitcher .............................Laura BrowningCraft Manager ..................................... Rise OnoStitchers ............ Kristin Czako, Sharon Landrum,

Katherine Krauss, Marla Parker

CONNECT WITH EVITA www.EvitaTour.com

www.facebook.com/evitatour@EvitaTour

CREDITSProduc t i on T rave l by ROAD REBEL ENTERTAINMENT TOURING, San Diego, CA. Scenery, Automation, and Show Control by SHOW MOTION, INC., Milford, CT Using the AC2 Computerized Motion Control System. Show Deck by PRG—SCENIC TECHNOLOGIES, a Division of Production Resource Group, LLC, New Windsor, NY. Soft Goods by I. WEISS THEATRICAL SOLUTIONS, Fairview, NJ. Props by PROPS IS TOPS, PROPSTAR, TOM CARROLL SCENERY, JOHN CREECH DESIGN & PRODUCTION. Lighting Equipment by PRG LIGHTING, Secaucus, NJ. Sound Equipment by SOUND ASSOCIATES, Yonkers, NY. Video Projection System Engineered and Provided by WORLDSTAGE, New York, NY. Costumes by SIOBHAN NESTOR, ARTHUR & TAILORS, CYGNET STUIDOS, INC., JOHN KRISTIANSEN, SARAH TIMBERLAKE, JENNIFER LOVE, HOUSE OF SAVOIA, SCAFATI, JODEK INTERNATIONAL LTD.—David Douek, Daniel Webster, COSTUME ARMOUR, KAUFMAN’s ARMY & NAVY, BECKSTEIN’S MEN’S FABRIC CZAR, and TROIKA ENTERTAINMENT COSTUME SHOP, Glen Burnie, MD. Handmade Shoes by FRED LONGTIN, J.C. THEATRICAL, T.O. DEY, WORLDTONE DANCE SHOES, CAPEZIO THEATRICALS, LADUCA SHOES. Eva Peron’s jewelry by Marcelo Toledo. Millinery by Anne Guay & Stetson Hats, Arnold S. Levine. Undergarments by BRA*TENDERS. Original Wigs by WIG SPECIALTIES LONDON. Historical Footage Provided by ASSOCIATED PRESS, ARENAPAL, FONDO DOCUMENTAL MUSEO EVITA/ARCHIVO GENERAL DE LA NACION AND PRODUCERS LIBRARY. Trucking by JANCO, LTD., Rick Rosenthal, Wayne, NJ. Paul Change Custom Tailors, Arel Studio.

SPECIAL THANKSDiagio Americas, Inc., Swarovski Elements,

Steven Rivellino/8th Sea Inc., Michael J. Passaro and Jimmy Goode.

Rehearsed at The New 42nd StreetStudios and Pearl Studios NYC

Performance rights to Evitaare licensed by R&H Theatricals:

www.rnh.com

STAFF

O


PHOT

O BY

EM

ILY L

OZOW

Of the musicals that they created together, the collaboration of Andrew Lloyd Webber and Tim Rice has fashioned some highly enduring, money-making shows. Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat and Evita shine undiminished among them. Almost everyone thinks of Evita, now in The Buell, as chiefly Lloyd Webber’s creation, but in fact it was Rice who brought the kernel of the idea to his colleague—and Lloyd Webber who rejected it. Rice developed the original fascination with Eva Perón after allegedly hearing a portion of a radio show about her that sparked his interest. He couldn’t let go of it; he remembered the image of Eva Perón from his boyhood stamp collection. He decided to do the research, even traveled to Buenos Aires in pursuit of more information and knowledge. He found it, with some welcome assistance from Argentine film director Carlos Pasini Hansen who had produced a film about Perón titled Queen of Hearts that Rice eventually saw—as many as 20 times by his own count. He even named his first daughter after the Argentine first lady. “I was hooked,” he concedes. But Lloyd Webber wasn’t—yet. He was busy pursuing a collaboration with playwright Alan Ayck-bourn on a musical version of Jeeves, based on the legendary P.G. Wodehouse butler. It was only after that project was completed and met with disappointing public reception that he began to think of Rice’s proposal. Favorably this time. In 1976, score and script in hand, Rice and Lloyd Webber approached director Harold Prince to stage their new musical Evita. Prince (who later went on to direct Lloyd Webber’s most popular and profitable musical, The Phantom of the Opera) famously stated that a musical that started with a funeral had to be interesting. But he also told the composer and book-writer that, while he’d like to stage it, he could take on no new commitments for two years. Undeterred, the guys agreed to wait and used the time to refine the show. Following a pattern set with Jesus Christ Superstar, they proceeded to record Evita as a concept album with actress/singer Julie Covington in the title role.

The album sold very well. Altogether, sales even exceeded those of Jesus Christ Superstar. That heightened interest in the promised musical. Thanks to its captivating music (even if the lyrics never

made much sense), its signature song, “Don’t Cry for me Argentina” hit Number One on the British singles chart. While it didn’t quite set the U.S. on fire, such names as Karen Carpenter, Olivia Newton-John and Petula Clark all recorded their own versions of it. Rehearsals finally got underway in 1978 and the show opened at London’s Prince Edward Theatre on June 21 to mixed but mostly good reviews. The music was haunting, the mystique of Eva Perón was still very much alive (she had died of cancer in 1952, at the young age of 33), there was an aura of sexy romance and adventure around the Guevara character as well. By the time it closed in London 3,176 performances later, the show had blossomed into a major hit. It made a star of Elaine Page, who played Evita after Covington had turned down the role—and it did the same across the pond for Patti

LuPone who snagged the part on Broadway. (She later complained bitterly and publicly that her experience with Evita was one of the most painful and difficult of her career; true or not, it made no difference to the show’s success and it enhanced Lupone’s own developing career.)

Rice had established the character of Che as the narrator and navi-gator of the story, but in a stroke of pure dramatic license, Prince insisted on modeling the character after Che Guevara. The real

Guevara, an Argentine by birth, had no historical connection to Eva Perón, and that emphasis was later minimized. In a 1978 interview with this writer, Prince had loftily described Evita as “about the smallness of individuals against this enormous political canvas. Che Guevara and Eva Perón are mythic characters. She was

sleazy, yet emerges much larger than life. It’s myth vs. reality. The arena dwarfs the people, but put them in front of a micro-phone and they become just as large, just as unreal.” The Los Angeles Times review of the pre-Broadway try-out in that city, described Evita as “not flawless, but possessed of three vital ingredients: tremendous scope, a remarkable score and the directorial genius of [Harold] Prince. There is a dark flash and vulgarity to its tone, protagonists who reflect essence rather than externals and the pres-ence of Che Guevara as a sardonic goad… Evita’s only bit of absolute fiction, but that is all it takes to free the work from the strait-jacket of reality.” This permission to take liberties, explore and experiment, is what makes theatre thrive

as art. Allowed to roam the infinite reaches of the imagination, theatre can zero in on truths that are more startling and accurate than strict reality can provide. It is what myths are all about, including the myths born—as in the case of Evita—from political fact and a fair amount of fiction. As a musical Evita is, indeed, “Brechtian, uncomfortable and subtly tainted by the garnishes of hypocrisy,” but it is on the mark when it comes to delivering the essence of theatrical invention and releasing it as a tool for illuminating human nature. n

EVIT

A


Jan 15 – 26 • Buell Theatre Sponsored by The Westin Denver Downtown and HealthONE

ASL interpreted, Audio Described & Open Captioned • Jan 26, 2pm

“She was sleazy, yet emerges much larger than life. It’s myth vs. reality. The arena dwarfs the

people, but put them in front of a microphone and they become

just as large, just as unreal.”

— Harold Prince, original director

improbableARTthe of the

The road to Evita was paved with patience, politics, perseverance and, when it came to making choices, a good deal of luck B

Y S

YLV

IE D

RA

KE

ART PARTNERS

303.893.4100 APPLAUSE 21303.893.4100 APPLAUSE 21

The Westin Denver Downtown Hotel is well known for its contribution to Denver’s per-forming and visual arts community. The

hotel is a multi-year sponsor of Saturday Night Alive, the signature fundraiser for The Denver Center for the Performing Arts (DCPA). It pro-vides gift certificates from sister properties in such locations as Venice, Vienna and Vietnam for the mega-auction event that raises well over $600,000 for youth arts education and outreach. The Westin also is the hotel sponsor for Evita at the DCPA and partners with the Denver Art Mu-seum on packaging with blockbuster exhibits such as Passport to Paris, as well as partnering with Colorado Ballet, Central City Opera and Opera Colorado on weekend packages and promotions. The hotel also is becoming a popular destina-tion in the meetings industry for its commitment to sustainability. The Westin Denver Downtown was the first in the city to implement on-site composting in partnership with the Tabor Center Office Tower and restaurant complex. It contrib-utes unused banquet food to We Don’t Waste, a local organization that collects leftover food from events, caterers, restaurants and other major food providers and distributes it to charitable agencies serving Denver’s disadvantaged populations.

“Donating leftovers shows a respect for food,” states The Westin’s Executive Chef Jean-Luc Voegele. “As a chef and as a gardener, I know that a bruised tomato or apple may not be usable in the hotel kitchen, but it still has nutritional value.” The Westin’s gift to We Don’t Waste provides unused food to agencies such as Allied Jewish Apartments, Denver Inner City Parish, Denver Rescue Mission, Denver’s Road Home, Father Woody’s Haven of Hope, Holy Ghost Church, Jewish Family Service of Colorado, the Samaritan House and The Gathering Place, to list just a few. Last but certainly not least, did you ever wonder what happens to that scrap of soap or half used shampoo you left in the hotel shower? The Westin Denver Downtown was the first Denver area Starwood hotel to commit to Clean the World, a program that collects partially used toiletries for donation to third world countries. Since the begin-ning of the partnership, The Westin has contrib-uted more than 28,000 bars of soap to the needy. When planning your next event, remember The Westin Denver Downtown, located on the 16th Street Pedestrian Mall at 1672 Lawrence Street, and see www.westindenverdowntown.com for the guaranteed best rates. n

—Submitted by Susan Stiff

“Donating leftovers shows a respect for food. As a chef and as a gardener, I know that a bruised tomato or apple may not be usable in the hotel kitchen, but it still has nutritional value.” — Jean-Luc Voegele, Executive, The Westin Downtown Denver

Proud sponsor of Evita and

Saturday Night Alive

Denise and Ray Bellucci at The Westin Denver Downtown’s sponsored Saturday Night Alive Patron Party

Westin Denver Downtown’s Director of Housekeeping Kyle Spencer, Director of Human Resources Cammie Ellis with housekeepers Norma Chavez, Betty Ventura and Jocelyn DuPuis collecting soap for Clean the World.

PHOT

O BY

CHA

MPA

STRE

ETPR

ODUC

TION

S.CO

M

THE WESTIN DENVER DOWNTOWN HOTEL

Sharing Denver’s Wealth With Others

PHOT

O BY

EM

ILY L

OZOW


AARPStaying Young As We Get Older

PHOT

O BY

JLUJ

AN

“We are looking to make a difference in communities across the state, to re-spond to Coloradans’ journey as they

age, and to create easy access to fun and meaningful opportunities,” said Morie Smile, AARP Colorado’s State Director. At 50, Smile is leading AARP’s staff of eight in ensuring that AARP becomes a part of the fabric of the community. Recently, Angela Cortez, AARP’s Communica-tion Associate State Director, had the opportunity to sit down with Smile and talk about today’s AARP.

Isn’t AARP for retirees? While AARP’s membership starts at 50, much of our work impacts people of all ages. For example, if you look on our website, www.aarp.org, you’ll see a great deal of resources for employees and job seek-ers. Colorado is a young state, and approximately half of our membership is under 65, which in this day and age means they are still working. The R and P stand for Real Possibilities, and that is what we hope to give all of our members: the chance to pursue their dreams.

Your comments are aspirational, what impact can AARP have on my life? The 50+ population is very diverse and incorporates different wants, needs and desires. For people looking at their “what’s next,” we have introduced Life Reimagined, which is a web-based program that helps participants realize their strongest skill sets and gives some tangible next steps in realizing their goals. Many of us are caregivers, often for a parent and a child. We are focusing heavily on providing resources to assist these caregiving providers. AARP also has an extremely effective and knowledgeable advocacy cadre. We have been able to save consumers millions of dollars over the years just in utility costs.

Doesn’t AARP provide discounts? Absolutely! In addition to a huge menu of national offerings, Colorado has reached out to cultural part-ners such as The Denver Center for the Performing Arts to offer discounts to our members. Members who purchased tickets for Mamma Mia! received a substantial discount thanks to their membership. We also are providing deep discounts for black odyssey, Hamlet, Animal Crackers, Shadowlands and two other blockbuster shows yet to be announced. And we are encouraging our members and their friends to participate in Second Act at the Denver Center Theatre Academy. The Second Act Sample is a se-ries of one-time educational events designed to spur theatrical curiosity in older theatregoers. In addition, we have relationships with the Denver Art Museum, Foothills Art Center, the Denver and Grand Junction Botanic Gardens just to name a few. We know that entertainment and promoting cultural offerings are important to the well-being of our members. n

“We know that entertainment and promoting

cultural offerings are important to

the well-being of our members.”

— Morie Smile, Colorado State Director, AARP

Proud sponsor of Mamma Mia! and select Kids’ Nights

on BroadwayAARP staff and family participate annually in the Denver Pride Parade.

ART

PART

NERS

Colorado’s FamilyLaw Team

The Harris Law FirmPlays to a

Different Tune by:

• Limiting Conflict, and• Protecting Children

The Harris Law Firm1125 17th Street,

Suite 1820Denver, CO 80202

303.299.9484www.harrisfamilylaw.com CandelasLife.com

the homes are in square feet

but the backyards are in square miles

There is a magnificent sweep of mountain pastureland that reveals 193 acres of on-site

open space, all surrounded by more than 11,500 acres of protected public lands that await your

discovery. This is Candelas, the nearly 1,500-acre master-planned community in west Arvada that

presents a life full of the very things people love most about Colorado.

Century Communities Up to 4 Bedrooms

1,902 – 2,854 Sq. Ft.From the mid $300s

Standard Pacific Homes Up to 5 Bedrooms

2,266 – 3,554 Sq. Ft.From the low $400s

Ryland Homes Up to 4 Bedrooms

1,711 – 2,368 Sq. Ft.From the low $300s

Village HomesUp to 6 Bedrooms

2,255 – 2,918 Sq. Ft.From the $300s

Richmond American Homes Up to 6 BedroomsUp to 4,800 Sq. Ft.

From the $500s

TRI Pointe Homes2,955 – 4,286 Sq. Ft.

From the $500s

Lennar Homes Up to 5 Bedrooms

2,256 – 3,432 Sq. Ft.From the $400s

9371 McIntyre Street, Arvada CO 80007

Prices effective date of publication and subject to change without notice. All square footages are approximate. See sales representative for Homeowner Association fees, dues and further details. Candelas reserves the right to change elevations, specifications and materials without notice.

Six Community Parks • Two Swim & Fitness Clubs 193 Acres of On-Site Open Space with 13.5 Miles of Trails

On-Site Jeffco Public School • 11,500 Acres of Surrounding Open Space • Future Retail • All Homes

Solar-Ready and Energy Star® 3.0 Certified

The Aurora Fox presents

January 31 - February 23, 2014

Painted BreadExplore the life of artist Frida Kahlo through a series of self portraits that come to life on stage, dramatically capturing her daring sense of humor, her love of Mexican ‘pop culture’ and her passion for the aand her passion for the art form.

Tickets: $22 - $26

by Melissa Lucero McCarl

www.AuroraFox.org9900 East Colfax Ave.303-739-1970


ILLU

STRA

TION

BY

KYLE

MAL

ONEOf all of Shakespeare’s plays, none is more lauded or lends itself to more

interpretations than Hamlet, an imperfect play. So why does this magic work?

B Y D A N S U L L I V A N

I N V I T A T I O N T O A

HAM

LET

HauntingHaunting

FForget “To be or not to be.” As Producing Artistic Director Kent Thompson’s cast started rehearsing Hamlet for the Denver Center Theatre Company, they faced a more pressing question: “What’s going on here?” For American and British theatre folk, Hamlet is the Big One, the Everest that’s got to be scaled “because it’s there.” And scaling it once doesn’t mean you’ve conquered it—only that you survived the climb. Having staged Shakespeare’s übertragedy at the Alabama Shakespeare Festival some years back, Thompson has a working knowl-edge of the terrain, but he’s still scouting for handholds. (It’s a maiden climb for his Hamlet, Aubrey Deeker.)

There’s something strange about this play. If Macbeth has a curse on it, as theatre people like to believe, Hamlet

seems to carry the stamp of heaven, even in its imperfections, which are many. A well-made play it is not. The plot is pinned together like a muslin costume; the time sequences don’t jibe, the characterizations are inconsistent. Is Horatio a regular at Elsinore (Act I, Scene One) or did he just show up (Act I, Scene Two)? Why didn’t the person who provides Gertrude a close-up account of Ophelia’s drowning jump in and rescue the poor girl? As for Ophelia’s sad little funeral, it’s all very well for her hotheaded brother Laertes to leap into her grave to show his grief, but would Prince Hamlet really follow suit? It may be in the text, but in which version of the play? (There are at least three.) Again, does Hamlet lament his “too, too solid flesh” or his “too, too sullied flesh?” Thompson and his company will work out such issues by themselves. But his basic question (“What’s going on here?”) goes deeper and has been debated almost since Hamlet opened at the Globe Theatre—a date we don’t have (1603 maybe?). What draws us to this story? Why is it constantly being revived, adapted, parodied, misquoted? What in Hamlet’s uncertain journey reminds us of our own episodic lives? To begin with, what’s the theme? Macbeth is about ambition. Othello is about jealousy. Hamlet’s problem is—what? Depression? Not being able to make up his mind? Want-ing to go to bed with his mother? Maybe he’s secretly glad that Claudius killed his father. Maybe he’s in love with Horatio. Maybe he doesn’t want to take the controls of a fascist state. (Taking a cue from “Denmark’s a prison,” two recent revivals were set in high-tech penitentiaries with digital alarm systems and HD screens. Great design, but it didn’t deepen the story.)

Season by season the theories keep coming and none of them proves out. Yet the experts continue to insist that it’s Shakespeare’s greatest play—everyone but T.S. Eliot who called it “an artistic failure.” Having reviewed a hundred or so Hamlets, I’m with the majority. I’ve never seen one that I didn’t get something out of, something that reminded me, for better or worse, of me. That includes the boring productions, of which there have been several, and one di-saster: a San Francisco staging featuring, at the very end of her career, Dame Judith An-derson. Not as Gertrude, but as Hamlet. This sounds like a hallucination and it played like one, but I could show you the program. I also have been blown away by the play. About five years ago the Royal National Theatre of Great Britain brought it to Tuc-son. The performance brought the audience, including me, to its feet, but not right away.

For nearly a minute—A long time in the the-atre—we just sat there in silence, absorbing the awful logic of that last scene. All those stupid deaths (“casual slaughters,” as Horatio calls them), because one thing suddenly led to another. Yes, we thought. That’s how badly things work out sometimes, even with good intentions. It can come down to that… Then we stood up. But the mountain had already been scaled. The silence was the prize.

In preparing his Denver production, Thompson has tried to curb the tempta-tion of every Shakespearean director

to make this the absolute, ultimate, game-changing last word on the play. Rather than “The” Hamlet, he’s aiming for “A” Hamlet: alive, human, comprehensive, not an assault on anybody else’s interpretation. Not that he doesn’t have his own ideas about the play. He described it at a produc-tion meeting as “a haunting.” Can you elaborate on that?

“Well, obviously there’s a ghost in the play. And there’s some-thing troubling in the air. Bad

omens, as when Caesar was murdered. But in prying open my reaction to the story, I’d say that for two-thirds of it Hamlet seems preoccupied with memories of his child-hood. “There’s an element of hero-worship for his father. Not that he was being raised to be that kind of soldier king. They—prob-ably Gertrude—sent him to Wittenberg to become the philosopher king. But now some part of him is bent on punishment, on revenge.” What about his disappearance in the middle of the story, that strange business about his being captured by pirates? “It’s the pirates who save him! At a certain point in Shakespeare, psychology goes out the window and a fairy-tale device comes in. I think that when Hamlet is delivered back to Elsinore he’s accepted his fate, whatever it is, and knows what he’s got to do.” Which is why Thompson struggles with that graveyard scene. It’s very late in the play, Hamlet has shed his juvenile angst, he can even see himself as a kind of divine agent. Why does he start scuffling like a teenage hood in a 50s movie? “Maybe he’s surprised at his own behav-ior,” I said. “Or maybe he’s just realized how much he really did love Ophelia,” Thompson replied. And the debate goes on… n

Dan Sullivan reviewed theatre for the Los Angeles Times, The New York Times and the Minneapolis Tribune. He now teaches at the University of Minnesota Journalism School.

HAMLET

303.893.4100 APPLAUSE 25


Jan 24 – Feb 23 • Stage TheatreProducing Partners: Sheri & Lee Archer, Katy Atkinson, Isabelle Clark, Alan & Katie Fox, Diana & Mike Kinsey

Sponsored by the National Endowment for the Arts/ Arts Midwest

ASL interpreted & Audio Described • Feb 23, 1:30pm

Perspective on the play: Jan 24, 6pm, Jones Theatre**Attend a FREE moderated discussion about the play with DCTC’s creative team. All are welcome.

ILLU

STRA

TION

BY

KYLE

MAL

ONE

What draws us to this story?

Why is it constantly being

revived, adapted, parodied,

misquoted? What in Hamlet’s

uncertain journey reminds us

of our own episodic lives?

“Hamlet is caught between suspicion of his mother and of his uncle and grief over his father’s death. Many students will understand the pain, grief, confusion of losing a parent or the sudden collapse of a marriage.”

– Kent Thompson, Producing Artistic Director, Denver Center Theatre Company

Producing Partners: Joy S. Burns, Leo & Susan Kiely, Daniel L. Ritchie, Bob & Carole Slosky, Steinberg Charitable Trust

denvercenter.org/summit • 303.893.6030

EDUC

ATIO

N


IMPACTCRE TIVITY

A

CURRENT CONTRIBUTORS List Complete August 2013

Impact Creativity is an urgent call to action to save theatre educa-tion programs in 19 of our largest cities. Impact Creativity brings together theatres, arts education experts and individuals to help over 500,000 children and youth, most of them disadvantaged, succeed through the arts by sus-taining the theatre arts education programs threatened by today’s fiscal climate. For more informa-tion on how “theatre education changes lives,” please visit: www.impactcreativity.org

($250,000 or more)The James S. and Lynne P. Turley Ernst & Young Fund for Impact CreativityClear Channel Outdoor*CMT/ABC*

($100,000 or more)The Hearst Foundations

($50,000 or more)AOL*

($10,000 or more)Christopher Campbell/ Palace Production Center*Lisa OrbergFrank and Bonnie OrlowskiThe Ralph and Luci Schey FoundationThe Schloss Family FoundationSouthwest Airlines*James S. TurleyJohn ThomopoulosWells Fargo

($5,000 or more)Steven and Joy BunsonPaula DominickChrist EconomosMariska Hargitay*Ogilvy & Mather*The Maurer Family Foundation

($1,000 or more)Nick AdamoMitchell J. AuslanderRyan DudleyBruce R. EwingJessica FarrSteve & Donna GartnerGlen GillenPeter HermannJanet and Howard KaganJohn MajorJonathan Maurer and Gretchen ShugartGeorge S. Smith, Jr.Florence Miller Memorial FundTheodore NixonCarol OstrowRBC Wealth ManagementIsabelle Winkles

*Includes In-kind support

The Anschutz FoundationThe Belay FundColorado Creative IndustriesThe Denver FoundationAlan and Katie FoxAllan and Margot FrankIMA Financial GroupImpact Creativity/National

Corporate Theatre Fund

Walter and Gene Koelbel Rev. TrustRobert and Judi NewmanWalter S. Rosenberry, III

Charitable TrustRuth S. SilverTarget June TravisU.S. BankXcel Energy Foundation

Thank You, NEA!Building the next generation of theatre audiences

is an important part of The Denver Center’s mission. We are pleased to report that the

Denver Center Theatre Company received its fifth Na-tional Endowment for the Arts Shakespeare for a New Generation grant to support a significant educational component with this season’s Hamlet. A dollar-for-dollar matching grant, NEA funding is combined with a mix of donations from the corporate, foundation and private sectors to make this program possible. Eight high schools in the metro area have been selected to participate: Alameda, Hinkley, Emily Griffith, John F. Kennedy, Justice High School, Rangeview, South and Thomas Jefferson.

In addition, two rural community high schools will participate as well: Prairie View and Brighton. Just over 800 students and teachers are involved in this project which includes teacher training, a series of pre- and post-play activities for students (to help them connect more significantly with the play), in-depth online study guides and, of course, tickets for all participants to attend a special Student Matinee of Hamlet in The Stage Theatre. n

Special thanks to the following donors who helped us achieve our NEA match and who made additional gifts to make this project possible:

ILLU

STRA

TION

BY

KYLE

MAL

ONE

LENN

E KL

INGA

MAN

, CHA

RLES

PAS

TERN

AK

PHOT

O BY

JEN

NIFE

R M

KOS

KINE

N

JOHN

G. P

REST

ON, K

ATHL

EEN

MCC

ALL

PHOT

O BY

TER

RY S

HAPI

RO

The NEA has supported Shakespeare for a New Generation for the past four years, most recently featuring DCTC’s Romeo &

Juliet (above) and The Taming of the Shrew (right) during the 2010/11 Season.

Animal CrackersBook by George S. Kaufman & Morrie Ryskind

Music & Lyrics by Bert Kalmar & Harry RubyAdapted by Henry Wishcamper

Original Orchestrations by Doug Peck

Zinging one-liners and slapstick brilliance fill this interactive and boisterous musical comedy from the

genius Marx Brothers.

APRIL 4 – MAY 11 • STAGE THEATRE

Producing Partners:Sponsored by:

DENVERCENTER.ORG • 303.893.4100 TTY: 303.893.9582 • GROUPS (10+): 303.446.4829

Season Partners:

2014coloradonew play summit

2014

Denver Center Theatre Company presents the 9th Annual

K E N T T H O M P S O N,A RT I S T I C D I R E C T O R

Producing Partners: Joy S. Burns, Leo & Susan Kiely, Daniel L. Ritchie, Bob & Carole Slosky, Steinberg Charitable Trust

APPOGGIATURABy James Still

BENEDICTIONBy Eric Schmiedl

Based upon the novel by Kent Haruf

THE COMPARABLESBy Laura Schellhardt

VICTORY JONES AND THE INCREDIBLE ONE WOMAN BAND

the second break beat playBy Idris Goodwin

ZENITHBy Kirsten Greenidge

denvercenter.org/summit • 303.893.6030

Yunu

en P

ardo

, Adr

iana G

aviri

a, Ru

th L

ivier,

Sab

ina Z

unig

a Var

ela•

Phot

o by

Kyle

Malo

ne

F E B R U A R Y 7 – 9

READINGS INCLUDE:

IMPACTCRE TIVITY

DENVER CENTER THEATRE COMPANY

ILLU

STRA

TION

BY

KYLE

MAL

ONE

303.893.4100 APPLAUSE 27


Million Dollar QuartetFeb 25 – March 9Buell Theatre

Great balls of fire! This elec-trifying musical is inspired by the true story of the one and only time rock’n’roll icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins came together for one of the greatest jam sessions of all time. This Tony® award-winning Broadway show features your favorite time-less hits. Rock’n’roll’s best kept secret... revealed!

ASL interpreted, Audio Described and Open Captioned performance March 9 @ 2pm.

ShadowlandsMarch 28 – April 27Space Theatre

Professor/author C.S. Lewis was a bachelor into middle age, when friendship with an American fan, Joy Davidman, ignited a deep and unexpected romance. But a diagnosis of cancer for Joy brings on a crisis of faith for Lewis, straining his lifelong dedication to Christian theology. This true story reminds us that great loss does not exist without great love.

ASL interpreted and Audio Described performance April 27 @ 1:30pm

ILLU

STRA

TION

BY

KYLE

MAL

ONE

The

#1

LONGEST-RUNNINGAMERICANMUSICALMUSICALin BroadwayHistory!

PHOT

O BY

NAO

MI K

ALTM

AN

ChicagoMarch 18 – 23Buell Theatre

This is the stunning musical that will not die—not after a hobbled start in 1975, not after a 20-year waiting period, and certainly not after the resound-ing success of its 1996 revival and 2002 Oscar-winning film. It joyfully returns to Denver for the fifth time.

ASL interpreted, Audio Described and Open Captioned performance March 22 @ 2pm.

Spark a dialogue today by participating in our free CONNECT program. Designed to enhance your theatre experience, the CONNECT program offers a variety of opportunities, including moderated discussions with the cast and creative staff, educational resources, tours, and other special events. For more information visit www.denvercenter.org/CONNECT

INSPIRED BY THE ELECTRIFYING TRUE STORY

THE TONY® AWARD-WINNING BROADWAY MUSICAL

MILLIONDOLLARQUARTETLIVE.COM

North

Amer

ican T

our C

ast.

Phot

o by P

aul N

atkin

.No

rth Am

erica

n Tou

r Cas

t. Ph

oto b

y Pau

l Nat

kin.

NORT

H AM

ERIC

AN T

OUR

CAST

. PHO

TO B

Y PA

UL N

ATKI

N.

PHOT

O BY

NAO

MI K

ALTM

AN

NEXT

UP Looking

ahead…Tickets: 303.893.4100 Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829

denvercenter.org

STEVE A. MILLER, PC

The Barclay, No. 2905 1625 Larimer Street

Denver, CO 80202-1539

800.200.9934 • 303.892.9933 [email protected]

sampc.com

• Representing investors in confidential dispute resolution for 35 years

• Licensed Attorney in Colorado, Wyoming, Arizona, California, Texas and Florida

• FINRA, NFA and AAA Qualified Arbitrator

COLORADOBALLET.ORG

Sharon Wehner by Allen Birnbach

CINDERELLA FEB 14-23PwC PRESENTS

LIFTS YOU OUT OF EVERYDAY.

GET YOUR TICKETS AT

To subscribe call 303-803-9200 or visit our website: www.denverbusinessjournal.com

For advertising information call 303-803-9250

From late breaking business news to investigative reporting, the Denver Business Journal has your local business news covered.

Exceptional Talent...

Print. Web. Daily Email Updates.

Exceptional Coverage.

To subscribe call

Do you feel and look your best?Clear Sky Medical has the answers to your questions

when it comes to natural health and beauty.

Personalized Programs: Anti –Aging / Hormone, Thyroid & Adrenal Health /

Aesthetic Dermatology Nutrition / Neurotransmitter Testing and Balancing

Dr Katia Meier is Board Certified in Anti-Aging Medicine and is a naturopathic and Bio-identical Hormone trained MD.

Panarama Falls • 9083 E. Mineral Circle, #260

Centennial, CO 80112

303-790-7860

Our Programs can:• Take years off your appearance with minimal

downtime & risk• Make you lose the weight you need to be healthy• Help your have the energy you want to do all

the fun things in life• Get your mood and sleep at its best• Reverse and prevent illness to optimize health

at any age

Mention this add and take $50 off your Dermapen treatment or $200 off your Dermapen package

VECTRA BANK


“Our economy thrives on the generation of ideas, not just the manufacturing of goods

and products,” says Vectra Bank Colorado President and CEO Bruce Alexander. “Learning to think both critically and creatively about solutions enables us to successfully navigate an increasingly complex world.” Established in 1988, Vectra has maintained its commitment to efforts and organizations that advance communities through revitalization, economic development, affordable housing—and the arts—around the state. Vectra employees volunteer for and support numerous arts institutions throughout Colorado as part of Vectra’s mission to support community, innovation and discussion. “One of Vectra’s goals is to be an active listener and observer of business and economic trends, and to share that information with our clients, so they can anticipate and plan for the future,” says Alexander. “Not only do arts provide those critical experiences that can open minds and hearts to an entirely different way of thinking, but they are part of our economy and a key component of why Colorado continues to be a great place to live and do business.

“We are honored to partner with organizations that give so generously to enable communities to flourish,” he continues. “We are privileged to be part of DCPA whose caliber is undeniable, from the performances it showcases to the experiences it delivers, to its educational outreach.” As part of Zions Bancorporation, Vectra, with 41 locations throughout the state, has the personal feel of community banks, and the reach and resources of larger institu-tions. Its bankers focus on all stages of life and cycles of a business, with a proactive approach to help advance clients’ financial goals. Whether the customer is the manager of a growing Colorado company, an indi-vidual consumer or someone looking for support in wealth management planning, all will find at Vectra Bank an innovative banking organization eager to surpass their expectations. n

For information on Vectra Bank Colorado, visit www.vectrabank.com.

ART

PART

NERS

THINKING CRITICALLY AND CREATIVELY

A proud sponsor of the Denver Center Attractions season

“Not only do arts provide those critical experiences that can

open minds and hearts to an entirely different

way of thinking, but they are part of our economy and a key component of why

Colorado continues to be a great place to live

and do business.”— Bruce Alexander, Vectra Bank

Colorado President and CEO

PRESIDENT AND CEO BRUCE ALEXANDER

KRIS

TY W

EDEL

ANDWITH P R E S E N T

303.893.4100GROUPS: 303.446.4829 TTY: 303.893.9582

INSPIRED BY THE ELECTRIFYING TRUE STORY

THE TONY® AWARD-WINNING BROADWAY MUSICAL

MILLIONDOLLARQUARTETLIVE.COM

North

Amer

ican T

our C

ast.

Phot

o by P

aul N

atkin

.No

rth Am

erica

n Tou

r Cas

t. Ph

oto b

y Pau

l Nat

kin.

JAN 16 – MAR 9GARNER GALLERIA THEATRE

FEB 25 – MAR 9BUELL THEATRE

APR 25 – 27BUELL THEATRE

JAN 28 – FEB 2BUELL THEATRE

MAR 18 – 23BUELL THEATRE

MAY 6 – 18BUELL THEATRE

FEB 3ELLIE CAULKINS OPERA HOUSE

APRIL 19BUELL THEATRE

MAY 23 – 25BUELL THEATRE

ORIG

INAL

BRO

ADW

AY C

OMPA

NY, P

HOTO

BY

FRAN

K OC

KENF

ELS

THE SHOWS

the groundbreaking BROADWAY musical

YOU ALREADY KNOWYOU’RE GONNA LOVE IT!

1 POINT STROKE

.5 POINT STROKE

NORT

H AM

ERIC

AN T

OUR

CAST

. PHO

TO B

Y PA

UL N

ATKI

N.

©LI

TTLE

STAR

PHOT

O BY

NAO

MI K

ALTM

AN

303.893.4100 APPLAUSE 31

Show your tickets and receivea free appetizer with yourpurchase of two entrées.

Offer good at both locations!

501 16th Streetmarlowesdenver.com

(303) 595-3700

519 16th Streetparamountcafe.com

(303) 893-2000

THINKDRINK

EATLOCAL

Happy Hour

Sunday–FridayOpen–Close

Fresh Fish. Flown in Daily.

Across from Theatre14th & Arapahoe St. • (303)991-2277

theoceanaire.com

Just 3 blocks from the theater complex 909 17th Street at Champa

Call 303.296.3525 for reservations

Four Diamonds AAAFour Stars - 5280 magazine

Fine Wines.

DCPA patrons receive a free bottle of Canvas wine and a $10 hotel parking credit with the purchase of two dinner entrees.

Hyatt Regency Denver at Colorado Convention Center650 Fifteenth Street, Denver, CO 80202303 486 4434Offer valid thru May 31, 2014.

Open Daily 10 a.m. - 7 p.m.2401 FiFteenth StreetLocated at 15th and PLatte StreetS

entrance on PLatte, downtown denver

303.445.4tea • 303.455.4832

Free pOt OF tea with aDlunch • traDitiOnal aFternOOn tea

BriDal ShOwerS • BirthDay partieS • tea taStingS

catering availaBle FOr Special eventS

BOOK FRIENDLY MENU

UNIQUE LITERARY EVENTS

BOOK CLUB HUB

A BOOK SHOP FOR WINE LOVERS.A WINE BAR FOR BOOK SHOPPERS.

bookbar

4280 Tennyson Street| Denver 80212

www.bookbardenver.com www.facebook.com/bookbardenver

21ST CENTURY BISTRO

NEW EXECUTIVE CHEF John Broening

WHAT FRENCH PEOPLE REALLY EAT.LIGHT, FRESH, LOCALLY SOURCEDIN ADDITION TO A CORE OF BISTRO CLASSICS

303-534-1155 | LeGrandeDenver.com

Japanese Steakhouse & Sushi Bar

Join us after the show!

Corner of 32nd & Lowell720.855.0888

sushihai.com

“Urban Eclectic” American Cuisinewith an innovated touch!

1530 B lake S t Un i t B • Denve r

15% off your bill when you

show your ticket for that day’s show.

(303) 298-5000w w w.LodoJ immys .com

The Cheesecake Factory features an extensive and creativemenu of more than 200 dishes made fresh from scratch,along with more than 50 low-calorie “SkinnyLicious™”

dishes and 50 signature cheesecakes & desserts.Enjoy lunch, dinner, late night dining

and Sunday Brunch.

1201 16th Street • Tabor Center • Denver(Just a short walk from the Performing Arts Complex,

at the corner of 16th & Larimer St.

303-595-0333www.thecheesecakefactory.com

Specializing in the finest extra-virgin olive oils and balsamic vinegars from around the world.

LoDo1338 15th Street

(15th at Market) in LoDo303-974-5784

Monday-Thursday: 11-6pmFriday-Saturday: 11-7pm

Sunday: 11-4pm

Bring in your program for 10% off your purchase.

Littleton2660 Main Street

(Next to Savory Spice Shop)720-328-4783Monday: 10-5pm

Tuesday-Friday: 10-6pmSaturday: 10-5pmSunday: 11-4pm

|

pizzarepublica.com

one of downtown denver’s best happy hours

Join us daily from 3:30-6:30 pm

Salute!

890 14th Street • 303.623.2811

OLD WORLD FLAVORWITH ACONTEMPORARYTWIST

Pre-theatre3 course dinner$35 per person

Includes a glass of wine

1512 LARIMER #38(In the heart of Writer Square)

303.595.860Owww.redsquarebistro.com

934 16TH ST. DENVER 80202 (303) 893.2233 RIALTOCAFE.COM VER 80202 (303) 893 2233 RIAVER 8VER 80202 (303)

1659 Wazee St.at the hiStoric oxford hotel

(303) 825-1107MccorMickandSchMickS.coM

LoDo 303.260.7222 | Lakewood 303.922.5800Park Meadows 303.790.7744 | Broomfield 720.887.6200

ONLINE ORDERING AND RESERVATIONS AT PFCHANGS.COM

34 APPLAUSE denvercenter.org

Get into the ACT…

Phot

os b

y Br

ian

Land

is F

olki

ns

Downtown Denver’s premier wedding location is an easy commitment. Located in the heart of the Denver Theatre District, the Seawell Grand Ballroom is a venue like no other. Your very own event team will capture your imagination, transporting you and your guests into any scene. Marry this with stunning skyline and mountain views and you have the perfect stage to start the rest of your life.

DENVERCENTEREVENTS.ORGat The Denver Center for the Performing Arts

303.572.4466

Set t ing the s t age f or inspired events .

Gorgeous Photos - Studio JK, The Happy Couple - Josephine and Jason

with The Denver Center Theatre Academy

denvercenter.org/ACT303.446.4892

• Classes taught by industry professionals

• 14 state of the art studios• Class sessions offered four times a year

for ages 3 – 103

Registration for all-day summer programs starts Jan. 29

(303) 424-6550(800) 659-4656 TTY

6550 Yank Way Arvada, CO 80004

www.springwoodretirement.com

Life is good at Springwood

Take back your independence. Springwood’s warm and inviting, full-service Independent Living apartments offer just the right amount of support.

You can enjoy all the things you once loved to do, and we’ll take care of the details.

Call us at (303) 424-6550 today to schedule your personal tour! like us on

Independent Living • Assisted Living • Memory Care

Call today!

BNY Mellon Wealth Management conducts business through various operating subsidiaries of The Bank of New York Mellon Corporation. ©2013 The Bank of New York Mellon Corporation. All rights reserved.

Tracy McCarthy(303) 209-9520

bnymellonwealthmanagement.com

Follow us on Twitter @BNYMellonWealth

Potential can be well hidden in today’s economic environment, but it’s there for those with the vision and experience to see it. For investors without the confidence or readiness to act, however, potential is just lost opportunity. At BNY Mellon Wealth Management, we uncover investment potential and know how to capitalize on it. Most importantly, as one of the world’s top wealth managers and a leader in client satisfaction, our expertise gives investors the ability to move forward with confidence. Are you heading for success or pointed in the wrong direction? Contact us for a complimentary stress test of your current portfolio.

Vision is just imagination if you aren’t prepared to act.

Date post:	11-Feb-2016
Category:	Documents
Upload:	angie-flachman
View:	236 times
Download:	0 times

Applause Magazine, Jan. 15-26, 2014

Documents